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JULY, 1961

MIDWEST EDITION

VOL. 56, NO. 2

Ann Mosher, Editor

Teresa Buxton, Managing Editor

Lorraine Girsch, Associate Editor

Jack Zasorin, Art Director

Frances Maly, Associate Art Director

Eunice Field, West Coast Representative

STORIES OF THE STARS

Fast-Moving Newsman (Jim Hagerty) by James Taylor 9

From These Roots by Frances Kish 10

President Kennedy's Feminine Fans by Charles Miron 12

Don Knotts: Idea Man by Bill Kelsay 14

My Five-year Success Course with Bobby Rydell by Frank Day 16

Fur and Feathers Dept. (CBS-TV stars and their pets) 18

Teal Ames Tells "Why I Left The Edge Of Night" by Mary Temple 22

Hollywood's Happiest Marriage (Dinah Shore and George Montgomery)

by Dena Reed 24

Frank Gifford by Bernard Gurtman 26

Doing Instead of Wishing (Grant Williams) by Ernst Jacobi 30

Nick Adams & Company by Kathleen Post 32

The People Make the Show (Bill Leyden and It Could Be You)

by Gregory Merwin 34

New Career Switch for the Everly Brothers by Martin Cohen 36

She Grew Up on TV (Lynn Loring of Search For Tomorrow) ... .by Alice Francis 38

Brook Benton by Phil Coppola 40

June's the Month for Romance (June Blair and David Nelson) 42

1961 — Elvis Presley's Biggest Year by Jim Morse 44

Stargazer (Janet DeGore) by Helen Bolstad 48

SPECIAL MIDWEST STORIES

Milwaukee's "Mr. Versatility" (Steve Morgan of WOKY) 49

A Favorite Stopping Place (Bob Murphy of WJBK-TV) 50

Lucky Len (Len Goorian of WKRC-TV) 52

All the Luck (Bill Riley of KRNT-TV) 54

FUN AND SERVICE FEATURES

What's New on the West Coast by Eunice Field 4

What's New on the East Coast by Peter Abbott 6

Information Booth 7

Beauty: Seven-Day Settings (Audrey Peters) by June Clark 46

New Patterns for You (smart wardrobe suggestions) 56

New Designs for Living (needlecraft and transfer patterns) 80

Cover Portrait of Bobby Rydell by Michael Levin

BUY YOUR AUGUST ISSUE EARLY • ON SALE JULY 6

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Re-entered as Second Class matter, June 28, 1954, at the

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3, 1879. Second-class postage paid at New York, N. Y„
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by the Post Office Department, Ottawa, Ontario, Canada.
© 1961 by Macfadden Publications, Inc. All rights
reserved. Copyright under the Universal Copyright Con-
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TV RADIO MIRROR, Macfadden Publications, Inc., 205
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WHAT'S NEW ON THE

At Academy Award festivities — I. to r. — Bob Stack, Barbara Rush; Eddie and Liz; Polly Bergen and husband Freddie Fields.

Changes on the Ranges: All signs
point to a new look in TV horse-opry
next season. Gunsmoke and Tales Of
Wells Fargo are moving into hour-
long slots. This is not entirely a wel-
come development for the stars of
either show. Dennis Weaver (Chester),
Milburne Stone (Doc) and Amanda
Blake (Kitty), all of Gunsmoke, will
have less time for those well-paying,
enjoyable personal-appearance tours.
. . . Dale Robertson also has cause for
regret. He used to pick up more money
at one rodeo than he got for a week's
work as Jim Hardie. Even the title is
in for a change. It will now be called
Man From Wells Fargo, in order to
widen the scope of the story and allow
Dale to take on a young sidekick.
Among those mentioned for this role
is Jack Ging, providing the young star
can get out of another contract. . . .
Wagon Train is another Western due
for revamping. Scott Miller will grad-
ually be eased in while Bob Horton
eases out.

Freely Translated: Tiny Miyoshi
Umeki, who is recreating for the mov-
ies her Broadway role in "Flower
Drum Song," will head for home in
Japan as soon a.s her part is done. It

will be her first trip back since coming
here four years ago, and she has two
great prizes to show her family — hus-
band Winfield Opie, TV producer, and
the Oscar she won in "Sayonara." With
this in mind, she wired her folks, "Me
Win Oscar All Coming Soon." Came
the return cable. "Child, if you already
win Win, why bother win Oscar?" . . .
If Miyoshi is bringing a husband to
Japan, Jimmy Shigeta may be going
the reverse route. He has been secretly
engaged to a cute Nipponese actress
for the past two years and, when he
goes there to co-star with Marlon
Brando in "The Ugly American," it
may well turn out that Jimmy will
acquire a bride. The last time he was
in Japan — doing "Bridge to the Sun" —
he adopted a pup but ran into trouble
with Customs. They insisted the pooch
get all his shots before leaving the
country and, during this two-week
wait, Jimmy did a lot of sightseeing
in the country of his forebears. Pro-
ducer Jacques Bar was so pleased with
his work, he gifted him with the ward-
robe used in the film. "But what do
you do with a dozen 1941 suits?" asks
the actor.

fhiess Who? A tough guy of the old

school, his forte was playing gang-
sters, lumberjacks, ruthless captains of
finance, etc. At present, he is one
of the hardest-riding marshals of tele-
vision. Actually, he is a man of cul-
ture and charm. He began as a writer,
had a play ("Rendezvous") produced on
Broadway in 1935, and still knocks out
pieces that he says are "too tame" for
today's market. This show-business
brute has been happily married for
twenty years and lives in a quiet Eng-
lish manor house of elegance with a
lovely garden he himself tends. When
he isn't weeding, he's reading — but
never, never the papers. "Too much
violence," he chuckles. "My tastes run
to Sandburg, Chaucer and the sonnets
of Shakespeare." His name? Barton
MacLane!

Hard Smell: A salesman got after
Dean Martin about installing a new
perfume-vending machine in the pow-
der room of Dino's, the actor's Sun-
set Strip eatery. Skeptical, Dean
inquired, "What happens if the ma-
chine runs out of perfume?" Snapped
the eager salesman, "A sign lights up
reading 'Out of Odor.' "... Your Loss,
My Gain: During the filming of 20th-
Fox's "Voyage to the Bottom of the

Two on-the-set cut-ups — Barbara Eden and Frankie Avalon. Barton MacLane and wife are proud of their lovely garden.

by EUNICE FIELD

Sea," the lead actors had to do much
of their work in a submarine suppos-
edly under the Polar Cap. They also
had to do some swimming under
water and, to be realistic, put on
heavy rubber suits. With the hot lights
and water, it was like being trapped
in a steam bath. As a result, Robert
Sterling, Michael Ansara and Frankie
Avalon lost five pounds apiece. Wailed
Frankie, "I only weigh 125, to start
with. Now I'll be stuffed with mashed
potatoes for a month, in order to be in
shape for my Las Vegas act at the
Sands in September." The odd part of
all this was that Peter Lorre, who was
praying to lose some of his excess,
didn't drop a pound.

Cold Couple Share Hot Dog: The

big news about Lassie is not that her
show has been renewed for the eighth
year. That was expected. What was a
shock, for Lassie and "her" fans, was
the divorce of Rudd and Mae Weather-
wax, owners and trainers of the popu-
lar dog. The court battle ended with
a Solomon-type decision. Lassie's pay
goes to Mae for alimony and she has
custody, except on days when the dog
must work. Then Rudd picks the star
up, chauffeurs (Continued on page 60)

Time for a smile — Carroll Baker, Jimmy Shigeta on set of "Bridge to the Sun." v

For What's New on the East Coast. See Page 6

Night out for Teresa Brewer, husband-manager Bill Monahan, their 3 daughters.

WHAT'S NEW
ON THE

' Arriving in N.Y.: Meadows sisters — Jayne and Audrey — with Jayne's son Bil
For What's New an the West Coast. See Paae 4

by PETER ABBOTT

Firecrackers: Elvis will be available
for a special next year. . . . All three
networks inviting Ike to do a public
series on his own terms. So far getting
nothing but a genial "no." . . . Burt
Lancaster and Edward G. Robinson be-
ing approached to emcee Carnival
Time, NBC -TV's new circus show
slotted for Friday p.m.'s in the fall. . . .
Rumor prevails that CBS will try to
make a spec of "Teahouse of the August
Moon." . . . Teleglobe — one of the four
Pay-TV systems — will soon be seeking
testing approval from the F.C.C. It has
already received patents in England
and Italy and, in 1957, the F.C.C. de-
scribed Teleglobe as employing "rela-
tively simple techniques." You get the
picture free and merely flip a switch
for sound, which meters time used. . . .
The air force named a missile "Whis-
pering Smith" — first TV program to be
so honored. . . . With world-shaking
events shattering the news, radio is
proving itself far ahead of TV in com-
plete and on-the-scene reporting. . . .
Betsy Palmer's grocer slips a goodie in
her bag when she does especially well
on I've Got a Secret. . . . Barry Sullivan
tells of the burglar who gave his girl
a mink coat. "It's beautiful," she
sighed. "It must be worth at least five
years."

Life and Love: Just about the time
Jim Franciscus premieres this fall in
his new TV series, The Investigators,
he will become a father. . . .You can
now buy a transistor radio that clips
on a bicycle handle. First buy the
bicycle. . . . Bachelor Bob Mandan,
who plays David Allen on From These
Roots, is acting kind of giddy back-
stage and his colleagues figure it's
love. . . . Angel goes back to heaven;
time-spot will probably be swallowed
up by Checkmate this fall. . . . Don
Morrow, host on Camouflage, taxied
socialite Darryl Link to City Hall for
a civil marriage. Darryl, whose father
was among the founders of the old
Du Mont TV network, is one of the
nation's outstanding amateur horse-
women. . . . While in Hollywood, Polly
Bergen rented the late Tyrone Power's
former home. In the backyard was the
famous nude statue of actress Linda
Christian. Polly reports her eighteen-
month-old son Peter frequently talked
to the shapely alabaster. Polly recalls:
"Peter worried because the statue
didn't answer, and I was worried that
it might." . . . All of which is remind-
ful of Hermione Gingold's comment on
CBS Radio, when recalling her first
impression of New York: "I couldn't
help but wonder why they had a statue
of Judith Anderson in the harbor!"

Looking Ahead : Bob Hope and Ethel
Merman join Lucille Ball this month
{Continued on page 8)

Information Booth

Larry Pennell

From Baseball to Acting

Please give some background on the
actor Larry Pennell.

E.M.Z., Louisville, Kentucky

Ruggedly handsome Larry Pennell
grew up practically in the backyard of
Paramount Studios, but it took him more
than twenty years and a baseball career
before his acting talents were discovered.
. . . Larry was born in Uniontown, Penn-
sylvania, but his parents moved to Hol-
lywood when he was just a baby. He
was playing baseball on an athletic
scholarship at U.S.C., when he was
signed for the Boston Braves. He played
in their minor-league farm system and
then, after two years' service in the
Army, was all set to play for the Brook-
lyn Dodgers, who had bought his con-
tract. Just then, a talent agent saw him
acting in a Hollywood drama group, and,
quick as a wink, Larry switched to act-
ing. . . . The dark-haired, 6'2" actor is
married to Patty Throop, a former Las
Vegas showgirl. In addition to sports, he
likes reading and listening to music.

A Happy Coincidence

What can you tell me about the ac-
tress Karen Sharpe?

P.I.K., Brooklyn, New York

A pastry shop and a happy coinci-
dence both played a part in the dis-
covery of Karen Sharpe. Born in San
Antonio, Texas, Karen went to Holly-
wood at the age of 14. While she was
studying acting there, she got a job in a
Beverly Hills pastry shop. It happened
that the shop was frequently patronized
by agent Leon Lance. Lance also called,

Karen Sharpe

from time to time, at the dramatic work-
shop at which Karen was studying. One
day, he heard a part being read in the
next room and asked to meet the girl.
Much to his surprise, it turned out to be
the girl from the pastry shop (Karen).
He arranged an interview for her and,
from then on, Karen has had a busy ca-
reer in both movies and TV. ... In her
spare time, the actress likes to swim,
ride, dance and read. She also enjoys
visiting museums.

Calling All Fans

The following fan clubs invite new
members. If you are interested, write to
address given — not to TV Radio Mirror.

Anthony George Fan Club, Bonnie
Horowitz, 2180 Wallace Ave., New York
62, New York.

Kim Novak Fan Club, Russ Charles,
268 No. State, Salt Lake City, Utah.

Donnie Brooks Fan Club, W. Fried-
man, "Crossroads of the World," Holly-
wood 28. California.

Paul Anka Fan Club, Janet Schluck-
ebier, Box 285, R. #1, Frankenmuth,
Michigan.

John Bromfield Fan Club, Carol
Bousquet, 25 Whittier St., Bridgeport
5, Connecticut.

Dinah Shore and George Montgomery
Fan Club, Kay Daly, 3528 Greenfield
Ave., Los Angeles 34, California.

We'll ansiver questions about radio and
TV in this column, provided they are of
general interest. Write to Information
Booth, TV Radio Mirror, 205 E. 42nd
St., New York 17, N. Y. Attach this
box, specifying whether it concerns ra-
dio or TV. Sorry, no personal answers.

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WHAT'S NEW

ON THE
EAST COAST

(Continued from page 6)

New fall NBC-TV series teams pert
Gena Rowlands and Robert Lansing.

Betty White has fall TV plans— she'll
appear often on a Sunday-night show.

Handsome Camouflage host Don
Morrow has a brand-new bride.

to tape "Lucy Goes to Broadway," for
December showing. . . . Twilight Zone
may expand to a full hour for fall. . . .
Shirley Booth replaces Tennessee Er-
nie Ford in new comedy series called
Hazel. Ford plans to return in one or
more specials for his auto name-
sake. . . . Mike Kirkland, of The Broth-
ers Four, carrying a torch for Marilyn
Van Derbur, former Miss America. . . .
Robert Sterling returns to TV in com-
edy again, filling the slot Tom Ewell
abandons. . . . Young Victor recording
star Rod Lauren making his first
movie, "Bucks County," for Hal Wal-
lis. . . . Robert Taylor swings from
ABC to NBC and goes into a full hour
on Fridays, come fall. . . . Circle June
15 for ABC-TV. More of that original
humor on an Ernie Kovacs special. . . .
Vivian Vance and Betty White will
show up frequently as guests on Candid
Camera next season. . . . Jan Miner,
once queen of daytime dramas, receiv-
ing high praise for her comedy role
in the off-Broadway musical, "The
Decameron." . . . Steve Allen's press
agent took issue with an item in this
column which noted Steve was look-
ing for a Broadway play that would
bring him back to N.Y.C. Not true,
said the P. A. But Broadway producer
Jed Harris says Steve will work for
him this fall in "Southern Comfort" —
and, since Steve is a teetotaler, it has
to be a play.

Like Hot: Broadway stars getting
the TV nod. Dick Van Dyke, original
male star of "Bye Bye Birdie," stars in
CBS-TV comedy weekly, Double
Trouble, starting in October. . . . Rich-
ard Burton, co-star of "Camelot," to
star in series, The Grand Conception,
but this one is to be projected in the
'62 season. . . . Lawrence Welk went
eighteen holes with former President
Eisenhower. The Welk Band has al-
ways been Ike's favorite. . . . Vic
Damone and Dick Patterson will star
in comedy series, Some Like It Hot. . . .
Evening of June 22, NBC -TV presents
special titled "Doctor B," a documen-
tary of the real M.D. in Flemington,
N.J. Special emphasis will be on the
doctor's relationship with patients. . . .
The Brighter Day begins telecasting
from CBS's TV City in Hollywood, end
of June. Blair Davies (who plays Rev-
erend Dennis) and Mona Bruns (Aunt
Emily) will make the move out from
New York, but most of the other
actors are in Broadway shows and will
remain behind — so you may expect
many cast changes.

Saddle-sore Ego: Wyatt Earp will
be gone beyond recall, this fall, but
Hugh O'Brian expects to do some TV
specials. Critical acclaim for his work
in a Play Of The Week drama assures
him consideration for dramatic roles
outside of Westerns. . . . June 17,
NBC -TV carries the National Open
Golf Tournament from Birmingham,
Michigan. . . . Hal March signed as

permanent radio host on Monitor in
the three-to-six Sunday spot. Inciden-
tally, Hal and Candy are expecting
again. . . . Curious characterization in
NBC's 87th Precinct, the detective se-
ries which will engulf Acapulco in the
fall. Actress Gena Rowlands will play
in the running role of a deaf mute,
as the wife of a detective played by
Robert Lansing. . . . NBC pays a record
$615,002 for TV rights to the pro-
football title game next season, but no
one knows what the two dollars is
for. . . . Vivien Leigh guests on the
last ABC -TV Churchill episode. She
recalls the day she happened upon Sir
Winston working on a canvas. She
expressed her admiration, and he sent
the painting to her for Christmas. . . .
Georgine D'Arcy's option picked up by
Desilu even though Harrigan & Son
gets no chance at a retrial. . . . Garry
Moore co-stars with Carol Burnett in
"Once Upon a Mattress" in summer
stock. This was the musical comedy
that made Carol. The Moore-Burnett
version will be taped as a TV special
for entry next season. . . . This will
excite the kids: A Superboy series is
finally being readied, starring young
actor John Rockwell.

Show Stoppers: Eighteen-year-old
Leslie Uggams, rising to fame via Sing
Along With Mitch, has decided it's
about time to learn to read music. . . .
According to Weekly Television Di-
gest, independent producers turned
out two hundred new pilots this season
and sold only fourteen. . . . Ricky
Nelson now has $300,000 in negotiable
cash. He was 21, on May 8, and picked
up his trust fund. . . . Kathy Nolan,
hospitalized with a back injury, re-
turns to production in The Real
McCoys sometime in June. . . . Re-
member Stop The Music? Harry Salter,
one of its originators, now has a new
one headed, possibly, for NBC. He calls
it Stop The Camera. . . . Buzz Clifford,
an admirer of comedienne Phyllis
Diller, turned shy and nervous waiting
to meet her. But the first thing she did
was to ask for his autograph for her
children. . . . Muriel Williams is the
actress now playing the role of Grace
Baker in As The World Turns. Fran
Reed left the part to join the San Fran-
cisco Stock Company for two years. . . .
Bing Crosby's company developing a
one-hour medic series, Ben Casey,
with Vince Edwards and Sam Jaffe.
... In ABC -TV's new cartoon series
for the fall, Top Cat, Allen Jenkins will
be the voice of Officer Dibble, and
Maurice Gosfield — one-time Dober-
man — the voice of Benny the Ball. . . .
Funny things happening in production
of the Bus Stop series starring Marilyn
Maxwell. Although the Broadway play
and movie were big hits, TV will
change the characters' names. The role
of Elma Duckworth, the waitress, is
considered to have comical overtones
and becomes Elma Gahringer!

Fast-moving Newsman

E A

It takes a good secretary (like Carolyn Miller) to keep up with busy Jim!

Jim Hagerty, ABC's vice-president in charge of news,

special events and public affairs, explains how he plans to expand

the network's programing in these exciting fields

by JAMES TAYLOR

He's a realist with strong opinions about his
future, America's future, the world's future.
Yet, in that future, James C. Hagerty predicts:
"It will be as easy for TV news programs to switch
from New York to Tokyo or Moscow or Paris as
it is now to switch from New York to Boston or
Washington. I have plans for an early-morning
news program on which we will be able to say:
This is what happened around the world while
you were sleeping5 — and actually show what hap-
pened, not just talk about it. When this happens,
it will outdate the morning newspapers and we'll

also be ahead of the afternoon newspapers. This
will require a larger TV staff of trained reporters,
reporters who are capable of speaking foreign
languages. My background may come in handy.
I have more than a passing knowledge of news-
men in practically every country. As a matter of
fact, I expect to be in Europe before the end of
the year, working on this project."

"Background" is a pale word for the prepara-
tion blue-eyed, hard-working, no-punches-pulled
Jim Hagerty brings to his challenging new job at
ABC. His name became {Continued on ■page 68)

Pictures of your favorite daytime characters (and the stars who play them) — PLUS a

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1 behind-the-scenes look at that popular drama

FROM THESE ROUTS

LIZ FRASER ALLEN

(Ann Flood)

IBB
DAVID ALLEN

(Robert Mandan)

j^vs!^

"I**/

LYDIA BENSON
(Sarah Hardy)

by FRANCES KISH

FOLLOWING A DAYTIME DRAMATIC SERIAL on television
is like reading a chapter at a time in a long,
absorbing novel. Each day, something new develops
in the story. The characters reveal a little more
of themselves, of their inmost thoughts and feelings.
New people appear on the scene, and others who
have served their purpose move out. But the
principal characters remain, and the main plot
continues to revolve around them. You get to know
them well . . . the houses they live in, the work
they do, their interests, their dreams. Most of all,
you learn about their family relationships, their
friends, their loves . . . and, sometimes, their hates.

Leonard Stadd, writer of NBC-TVs popular serial
drama, From These Roots, has a strong belief that
these daily segments come very close to the lives
of many women who watch, and fill a definite
need. Often, these women are housewives, alone
many hours a day with young children — or with
older children at school or busy with their own
activities. Sometimes, they are older women whose
families have grown up and moved on. And you
might be surprised how many men watch regularly
. . . night workers, shut-ins, or retired from business.

"Our audience," says Stadd, "is composed of
people who, like those in our story, are searching
for love and understanding, and trying to give
these to others. Trying to find peace and happiness
in their relationships. I believe that we play to a
basically intelligent audience, people all over
this country who can identify with our people and
their problems. If some of the parts and situations are
a little outside their own experience, the basic
emotions are still there. David Allen, one of our
main characters, is a playwright. His wife, Liz Fraser
Allen, works on her father's newspaper. Both
professions show sides of fife unfamiliar to many in
our audience, but easily understood."

Stadd is convinced that the housewife of today is
concerned with a greater variety of things than
her mother was. She is exposed to more — through
movies and radio and, most of all, television, as
well as contemporary literature and magazines and
the daily paper. She sees more, reads more, has
more contact with the world (Continued on page 77)

"***

DR. BUCK WEAVER

( Len Wayland)

EMILY BENSON

(Helen Shields)

MAGGIE WEAVER

(Billie Lou Watt)

BEN FRASER

(Rod Hendrlekson)

From These Roots, ■written by Leonard Stadd,
NBC-TV, Monday through Friday, from 3:30
to 4 P.M. EDT, under multiple sponsorship.

KASS

(Vera Allen)

/„»/7 the stars who play them) —PLUS a
Pictures of your favorite daytime characters (and the ^^^^^a

behind-the-scenes look at that popular drama

FROM THESE ROOTS

tzz

LIZ FRASER ALLEN

(Ann Hood)

DAVID ALLEN

(Robert Mandan)

LYDIA IENSON

(Sarah Hardy)

by FRANCES KISH

BOLLOWDJO A DAYTIME DRAMATIC SERIAL Oil television

■is like reading a chapter at a time in a long,
absorbing novel. Each day, something new develops
in the story. The characters reveal a little more
of themselves, of their inmost thoughts and feelings.
New people appear on the scene, and others who
have served their purpose move out. But the
principal characters remain, and the main plot
continues to revolve around them. You get to know
them well ... the houses they live in, the work
they do, their interests, their dreams. Most of all,
you learn about their family relationships, their
friends, their loves . . . and, sometimes, their hates.

Leonard Stadd, writer of NBC-TVs popular serial
drama, From These Roots, has a strong belief that
these daily segments come very close to the lives
of many women who watch, and fill a definite
need. Often, these women are housewives, alone
many hours a day with young children— or with
older children at school or busy with their own
activities. Sometimes, they are older women whose
families have grown up and moved on. And you
might be surprised how many men watch regularly
. . . night workers, shut-ins, or retired from business.

"Our audience," says Stadd, "is composed of
people who, like those in our story, are searching
for love and understanding, and trying to give
these to others. Trying to find peace and happiness
in their relationships. I believe that we play to a
basically intelligent audience, people all over
this country who can identify with our people and
their problems. If some of the parts and situations are
a little outside their own experience, the basic
emotions are still there. David Allen, one of our
main characters, is a playwright. His wife, Liz Fraser
Allen, works on her father's newspaper. Both
professions show sides of life unfamiliar to many in
our audience, but easily understood."

Stadd is convinced that the housewife of today la
concerned with a greater variety of things than
her mother was. She is exposed to more— through
movies and radio and, most of all, television, as
well as contemporary literature and magazines and
the daily paper. She sees more, reads more, has
more contact with the world (Continued on page 77)

DR. BUCK WEAVER
(l*» WayUnd)

IMILY IENSON
(Hilt Shields)

MAMIE WEAVER

(Billim Lou Waff)

■EN PRASER

(Rod Hendrlekton)

From These Hoots, written hy Leonard -Sudd,
NBC-TV, Monday through Friday, from 3:30
to 4 P.M. EDT, under multiple iponKirahlp.

From eight to eighty, the ladies
of America have taken Jack Kennedy
to their hearts. And as they look,
listen and adore, they are also
becoming better and wiser citizens

by CHARLES MIRON

" 1*ust look into his eyes and you can read
J sincerity." President John F. Kennedy had
just given one of his televised press conferences,
and I scouted around for "the feminine reac-
tion." The above comment came from a house-
wife in Pasadena, California. The following
week, in New York City, a nurse told me: "His
views on the labor problems in this country are
quite sound."

Two typical remarks, three thousand miles
apart. The consensus on the early tenure of
Jack Kennedy — at least, from the female stand-
point— seems to be as steadfast as on that
November day when American women helped
to elect him. And they are getting plenty of
opportunity to observe their hero in action,
particularly since Presidential press secretary
Pierre Salinger has booked the Kennedy image
on television as a regular commodity to be
cheered, to be booed — but, most important of
all, to be seen and listened to.

That Jack Kennedy hits straight from the
shoulder has never been denied. And there can
be no doubt that his debates with Richard
Nixon helped him to win. The Republican
candidate's rather formal personality and de-
livery showed off Kennedy's grace and silver
tongue to even greater advantage than if the
Democratic nominee had spoken alone.

"We will speak on any and all topics vital
to the American public," Salinger announced,
following Kennedy's victory in November. Said
President Kennedy himself, "I shall answer all
questions asked of me." But skeptics were
doubtful. No President in the history of the
country had ever exposed himself to such a
large listening and (Continued on page 61)

From eight to eighty, the ladies
of America have taken Jack Kennedy
to their hearts. And as they look,
listen and adore, they are also
becoming better and wiser citizens

by CHARLES MIRON

" Tust look into his eyes and you can read
J sincerity." President John F. Kennedy had
just given one of his televised press conferences,
and I scouted around for "the feminine reac-
tion." The above comment came from a house-
wife in Pasadena, California. The following
week, in New York City, a nurse told me: "His
views on the labor problems in this country are
quite sound."

Two typical remarks, three thousand miles
apart The consensus on the early tenure of
Jack Kennedy — at least, from the female stand-
point— seems to be as steadfast as on that
November day when American women helped
to elect him. And they are getting plenty of
opportunity to observe their hero in action,
particularly since Presidential press secretary
Pierre Salinger has booked the Kennedy image
on television as a regular commodity to be
cheered, to be booed — but, most important of
all, to be seen and listened to.

'M-'3a

There was a time when Don and Kay — married while still students at West Virginia University —
thought the brightest ideas might never pan out. But Knotts is a resourceful man. Now they've
struck gold in sunny California, have settled down with daughter Karen, 6, and son Tom, 3.

by BILL KELSAY

The house is not new. It was designed more
for comfort and living than for impressing the
neighbors. A ring at the doorbell is most apt
to bring a joyful greeting from three-year-old
Tommy: "Daddy, it's some people!"

When Daddy himself comes to the door, he's
readily recognizable as Deputy Barney Fife of
the current comedy hit, The Andy Griffith
Show, and as the former "nervous" man-on-
the-street of Steve Allen fame. In person, Don
Knotts is quiet, mild-mannered, even slighter
of frame than he appears on TV.

But the welcome smile is familiar, and the
quick, ready handshake is firm and friendly.

As will be proved, later on, Don Knotts is
a fast man with an idea. Right now, he's very
much at home, a good (Continued on page 74)

The Andy Griffith Show, CBS-TV, Mon., 9:30 P.M. EDT, is
sponsored by Post Cereals, other General Foods products.

IDEA MAN

The hilariously inept Deputy
Barney Fife wasn't dreamed up by a
writer. He's the brainchild of
actor Knotts, who doubles the laugh
content of The Andy Griffith Show

3TMK

Sheriff Andy may raise those eyebrows at some of his
deputy's "inspirations" on the TV show, but actor Andy
knows Don's true comic gift. They've been friends since
both were in the Broadway hit, "No Time for Sergeants."

My five-year success cours

Managing a talent like Bobby's means
both work and fun! In rehearsal above, I'm
at the piano. At the left — Noel Sherman
(standing), who writes the special material,
and Lou Spencer, who stages Bobby's acts.

Sometimes our hotel suite looks like a nut-
house. Laughs break up the monotony of
a tour, and Bobby Rydell does an imitation
of a waiter — dressed in T-shirt and bow tie —
that's a gasser. As "elder statesman" of our
group and Bobby's personal manager, I've
been subjected to many a trick, have jumped
out of bed for an early-morning appointment
to find my shoelaces tied to a bedpost. It's
corny, maybe, but it's fun.

Those were the not-so-good-old days when
Bobby Rydell had four bust records in a row
and he would say to me, "Frankie, maybe
I'm just not right for show business. Maybe
you're wasting your time." I was suffering
from debt-itis, too, but there was no thought
of quitting. I knew then, as I know now, that
I had a tiger by the tail, a lad with a talent
both frightening and gratifying.

We can afford a laugh now — and a spare
tire, too. Things have happened in the past
year and a half. Bobby has had seven hit
records. In the recent TV season, he's been
the only guest star (Continued on page 63)

Top shows have welcomed him.
He's due for movie commitments.
But I remember the days when
a flat tire on tour was a
major catastrophe. Moral:
There9s, no real shortcut to success

by FRANK DAY

Bobby Rydell's personal manager

Bobby (above, with parents Jenny and Adrio Ridarelli) hails

from Philadelphia — my hometown. But we met while both performing

in Atlantic City, when he was in his early teens. Even then,

I could see signs of the amazing versatility Bobby now displays

on such shows as Perry Como's Kraft Music Hall (right).

'" BOBBY BYDELL

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11?/ five-year success coun, iriih BOBBY RYDELL

But some of the laughs are funny only in
retrospect Take the time a tire blew when
Bobby and I were on our way to make a radio
program — I didn't own a spare, couldn't af-
ford one, and we were twenty miles out of
town. And we remember mornings when a
policeman pounded on the car window to
wake us — we couldn't afford a hotel room.
Those were the not-so-good-old days when
Bobby Rydell had four bust records in a row
and he would say to me, "Frankie, maybe
I'm just not right for show business. Maybe
you're wasting your time." I was suffering
from debt-itis, too, but there was no thought
of quitting. I knew then, as I know now, that
I had a tiger by the tail, a lad with a talent
both frightening and gratifying.

Top shows have welcomed him.
He's due for movie commitments.
But I remember the days when
a flat tire on tour was a
major catastrophe. Moral:
There's no real shortcut to success

by FRANK DAY

Bobby Rydell's personal manager

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Bobby (above, with parents Jenny and Adrio Ridarelli) hails

from Philadelphia — my hometown. But we met while both performing

in Atlantic City, when he was in his early teens. Even then,

I could see signs of the amazing versatility Bobby now displays

on such shows as Perry Como's Krajt Music Hall (right).

On your TV screen, she's
the pampered pet of
Danny Thomas. Here the role
is reversed, as Angela
Cartwright "mothers"
her pet poodle "Peppi."

FUR

and

FEATHERS

DEPT.

Some stars in the CBS-TV
firmament proudly present
their favorite pets

Amanda Blake, of Gunsmoke, is
animal-lover who once housed a
menagerie of dogs and cats.
Present roster: Poodle named
"Sapphire," Siamese cats
called "Sam" and "Nanki-Poo."

Parrot named "Gauguin" has the
run of Red Skelton's home. Red
sometimes uses Gauguin on his show
and in his night-club routines.

Betsy Palmer's husband gave her
two Siamese, when they were only
kittens. He named the male
"Domenick." Betsy matched this moniker
by calling the female "Cecily Ann."
Now three years old, the cats
are only pets of I've Got A Secret
panelist and her doctor-husband.

afliriH

B*\

Midge Ware, the lovely who adds feminine
charm to Gunslinger on TV, takes a walk
in the woods with her husband Arthur
Batanides and their police dog named "Plato.

FUR

and

FEATHERS

DEPT.

(Continued)

Lucky duck named "Louie" has
his own private pool at home
of Raymond Burr of Perry
Mason series. Actor Burr loves
animals, owns a small burro
and other assorted four-foots.

Cindy Robbins, of The Tom Ewell Show, lives with her parents, four

sisters, two dogs and a tomcat. The larger standard poodle is

called "Capris," the miniature "Chou Chou," the cat "Desi." Above,

on couch, are sisters Robbyn, Cindy and Brenda, at right. On

floor are Allyson (left) and Dusty. Now, there's a happy family!

Midge Ware, the lovely who adds feminine
charm to Gunslinger on TV, takes a walk
in the woods with her husband Arthur
Batanides and their police dog named "Plato

(Continued)

Lucky duck named "Louie" has
his own private pool at home
of Raymond Burr of Perry
Mason series. Actor Burr loves
animals, owns a small burro
and other assorted four-foots.

Cindy Robbins, of The Tom Ewcll Show, lives with her parents, four

sisters, two dogs and a tomcat. The larger standard poodle is

called "Capris," the miniature "Chou Chou," the cat "Desi." Above,

on couch, are sisters Robbyn, Cindy and Brenda, at right. On

floor are Allyson (left) and Dusty. Now, there's a happy family!

mffMr WHY

In response to hundreds of reader
letters, the full story on the reasons
for the untimely death of Sara Karr

by MARY TEMPLE

Phone queries galore: Did Teal leave to get
married? To travel or take a long vacation? To appear
in another show — on TV — on stage — on screen?

Last Washington's Birthday, something unprecedented
happened in daytime TV. Sara Karr, heroine of the
dramatic serial, The Edge Of Night, died in the arms of
her grief-stricken husband Mike, in full view of an
estimated audience of ten million.

Viewers stared at their sets with stark unbelief. Mike
and Sara (played by John Larkin and Teal Ames) had
been together since the drama began, in April, 1956.
Audiences had followed their courtship, rejoiced when

they were married on-air . . . rooted for Mike when he
left the police to enter the District Attorney's office, and
when he went into private law practice . . . worried as
he paced the hospital corridor, waiting for Laurie Ann
to be born. The little family became near and dear. Any
major break was bound to weigh heavily on viewers'
hearts.

Just how heavily, the show's top brass — producers and
CBS network heads — had no idea. They soon found out.

LEFT THE EDGE OF NIGHT"

-•KBrr:

♦

■%tf

Mike Karr (star John Larkin) and Sara (Teal Ames) with wee Laurie Ann (Larkin's

own daughter, Vicki). Now there are only two in the Edge Of Night family —

and, oddly enough, it was the toddler who gave Teal the "out" she was seeking.

Results were immediate, stunning, overwhelming. While
the drama was still on, the huge CBS switchboard in
New York was literally jammed with calls. Not only
from individual viewers in the area, but from managers
of affiliated stations across the nation, whose own switch-
boards were being tied up with inquiries: Had Sara really
died? If so, why was it allowed to happen? Was Teal

Ames ill . . . leaving to get married . . . taking another
job? Most unthinkable of all — had they dared to fire her?
Telegrams piled up, some 260 of them while the pro-
gram was still in progress. TV editors and columnists
from all over — many of them more familiar with night-
time than daytime shows — phoned to ask: "Who is this
Teal Ames who plays Sara? (Continued on page 58)

The Edge Of Night, CBS-TV, Monday through Friday, from 4:30 to 5 P.M. EDT, is sponsored by Procter & Gamble and others.

"WHY I LEFT THE EDGE OF NIGHT"

In response to hundreds of reader
letters, the full story on the reasons
for the untimely death of Sara Karr

by MARY TEMPLE

Phone queries galore: Did Teol leave to get
married? To travel or take a long vacation? To
in another show — on TV — on stage — on screen'

appear

Last Washington's Birthday, something unprecedented
happened in daytime TV. Sara Karr, heroine of the
dramatic serial, The Edge Oj Night, died in the arms of
her grief-stricken husband Mike, in full view of an
estimated audience of ten million.

Just how heavily, the show's top brass— producers and
CBS network heads— had no idea. They soon found out.

Mike Karr (star John Larkin) and Sara (Teal Ames) with wee Laurie Ann (Larkin's

own daughter, Vicki). Now there are only two in the Edge Of Night family —

and, oddly enough, it was the toddler who gave Teal the "out" she was seeking.

The Edge Of Night, CBS-TV, Monday through Friday, from 4:30 to 5 P.M. EDT, is sponsored by Procter & Gamble and others.

"We live simply,** says Dinah Shore.

"We simply live,** says George Montgomery.

Small wonder that,

with such sound ideas, they have . . .

Hollywood}

by DENA REED

At work or play, at home or abroad, George and Dinah —
wed more than seventeen years — have a simple formula for
both achievement and contentment. Below, returning from
Europe after a family jaunt with Melissa Ann ("Missy"),
who's now thirteen, and John David ("Jody"), now seven.

She won't be back on Sunday night, next fall,
but Dinah will be busy as ever. New time (Friday,
alternating with Bell Telephone Hour). Same big
network (NBC-TV). And same beloved Miss Shore.
Pardon us! The same beloved Mrs. Montgomery.

For, to Dinah herself, the most satisfying part
of her busy life in show business has been her happy
marriage to George Montgomery, which has been
going strong for more than seventeen years. Dinah is a
shimmering, happy woman who stays that way be-
cause her marriage is one of true fulfillment and con-
tentment Its components are a real and lasting love,
a happy family, and a rich personal life.

How does she manage it, career-girl that she is?

According to the best authority, George himself,
it is easy because: "Dinah is not only an extraordi-
narily talented performer — more than that, she's an
extraordinary wife. I have no comparison for her. She's
in a class by herself. She's (Continued on page 72)

The whole world has admired Dinah's taste in clothes
— but her treatment of same is George's only complaint!

The Dinah Shore Chevy Show is colorcast on NBC-TV, Sun., from
9 to 10 P.M. EST, for Chevrolet Motor Div. of General Motors.

Happiest Marriage

■5H

One of football's all-time greats tells
about his new career as a sportscaster

by BERNARD GURTMAN

One night in the fall of 1956, Frank Gifford, hand-
some left halfback of New York's professional
football Giants, appeared as a guest on What's My
Line? The following morning, he woke up early.
The phone was ringing. It kept on ringing all day. . . .
"TV reception must have been exceptionally good
that night," recalls Gifford, a surprisingly modest
man for one whose name has been in the headlines
most of his adult years. "At least, it was good for me.
Among the phone calls were offers from Warner
Bros., 20th Century-Fox and three independent movie
producers in Hollywood. I was bowled over." As
his football opponents have learned, when Gifford is
"bowled over," he recovers quickly! When he
recovered from the amazing reaction to his guest TV

Continued

Now just a memory for N.Y. Giants football fans: No.
1 6 (Gifford) scoring — with No. 44 (teammate Kyle Rote)
getting set to throw a block, if necessary. The place:
Yankee Stadium. Opponents here: Washington Redskins.

Former athletic idol, new topflight broadcaster, at
home with his family — wife Maxine, sons Jeffery, 9, and
Kyle, 6, daughter Vicki, 4. They really listen to Dad's
daily show, watch for him on special sports telecasts!

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Acting offers have flooded Frank, and he's also interested in a
writing career. He has already turned out newspaper columns on
his own — with only a nudging assist from "Rufus," the dachshund.

Keeping fit might be more of a problem now. But Kyle and Jeff
watch admiringly as Dad does his daily push-ups and Maxine ob-
serves that her husband's golf is getting better all the time.

(Continued)

appearance, he began considering the var-
iolas aspects of show business for an
eventual career when his football playing
days were aver.

After several years of preparation, ap-
pearing in motion pictures and on radio
and television when his schedule would
permit — while at the same time continuing
to rack up records with the Giants — last
February, Gifford made his big decision.
Although he was the highest-paid player
in the National Football League, he an-
nounced his retirement as a professional
athlete and signed a long-term contract
with the Columbia Broadcasting System.

"It was the most difficult decision I've
ever had to make," he says. "Football has
been the stepping-stone to everything for
me. I truly love the game. It's been good to
me, very good. But I simply decided it was
time for me to get out. Every professional
athlete has to quit sooner or later, and I
believe it's better sooner than later. There
were several (Continued on page 69)

Frank Gifford is heard on WCBS Radio (N. Y.),
M-F, 6:15 PM. EDT, sponsored by F & M Schaefer
Brewing Company and Monroe Auto Equipment.

There's still football for fun, of course. Here,
Gifford passes to Jeff, as Kyle plays at center.

Frank expects to see lots more of his home in Scarsdale, now that he's not on the road or in training
with the Giants. He enjoys household tasks (with Vicki's help) and watching his "womenfolk" primping up.

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Grant Williams of the Hawaiian Eye series

was a talented dilettante — until, one

day, he met a man who taught him the value of

TJoivu* Jvateatt ol Whkmx*

by ERNST JACOBI

Actor going places: Grant takes a grim dare
by portraying psychopathic killer, Charles,
in Warner Bros, movie, "The Couch." Below,
a scene with Onslow Stevens as Dr. Fuller.

More romantic role with filmdom's "Susan Slade" — alias
Connie Stevens, his pert co-star in TV's Hawaiian Eye\

Sex is sin, the voices said. Sex is bad. You're bad —
bad — bad. He started to pace furiously, 'round and
round the narrow room. But this didn't quiet
the voices nor calm his excitement. He wanted to
shout, break things, hurt himself. Reaching the
bursting point, he finally seized an ice pick and started
to stab and slash — blindly, aimlessly, hitting
out wildly —

"Cut!" yelled the director. "Stop it, Grant. What
are you doing to yourself? Stop it!"

It took Grant Williams some moments to break the
spell, withdraw his mind from within the shell of
the psychopathic killer he was portraying, and return
to his own sane and balanced. seUL

"You've hurt yourself, Grant. Look at your
knuckles. You've skinned both your hands."

Still slightly dazed, Grant looked at his bleeding hands
and shook his head. "I wasn't aware I was hurting
myself," he said. "I guess I (Continued on page 78)

Grant Williams is Greg MacKenzie in Hawaiian Eye, as seen over
ABGTV, Wed., from 9 to 10 P.M. EDT, under multiple sponsorship.

Adams & Company

For Nick, happiness is a charming

trio: Carol, Allison, and newcomer Jeb

by KATHLEEN POST

Nick Adams (alias The Rebel) has a happy glow
in his eyes these days. And it was there even
before wee Jeb Stuart Adams was born, just this
April! There's proof in Nick's inscriptions on the
picture postcard he was sending to close friends, a
few months ago. The card bore a colored photograph
of Nick in Confederate uniform, with this printed
description: "Nick Adams, starring as Johnny Yuma;
born Nanticoke, Pa.; many movie appearances in-
cluding 'Mister Roberts' and 'No Time for Sergeants';
blond, blue-green eyes, 5-10, 150 lbs.; married to
actress Carol Nugent." On one such card, Nick
penned: "The last, far from being the least, is really
the most!" On another was the gleeful notation: 'Lit-
tle Allison wasn't born when these were printed . . .
and now another's on the way ... so getting set to
order new cards with two (Continued on page 66)

The Rebel is seen on ABC-TV, Sun., 9 P.M. EDT, sponsored by
Liggett & Myers Tobacco, Procter & Gamble, Union Carbide.

As befits a future Hollywood belle, daughter Allison went by
stroller, on an early visit to Dad on The Rebel set. But baby
Jeb Stuart — born this April and named for the dashing Confed-
erate hero — will probably want a pony as soon as he can toddle!

Nick's right up there with "the foremost entertainers
of my generation" — it says so, in Carol's baby books.

Special care for a special young mama: The world knows her as
actress Carol Nugent — but Nick calls her "my good-luck charm."

Surprise! Backed by Bill Leyden, young Jon Provost of Lassie presents
one of the famed canine star's puppies to the 1961 Easter Seal Twins.

X-rays? Bill isn't really a doctor — but confesses he needs
a surgeon's skill to operate on show's split-second timing.

THE
PEOPLE

Bill Leyden reminisces about
the romance, the humor and
the heartbreak which people
bring to It Could Be You

by GREGORY MERWIN

Bill's so nice, this little boy wouldn't let
go to return to mother till after the show.

Announcer Wendell Niles tries
to out-sing guest Tony Bennett
center), and Bill breaks up.

Reunions are fast, on-air — often
take months to check out and plan.

He's talked his way through more than 1,300 shows, interviewed
more than 9,000 people on It Could Be You. "I've been doing
the show five years," says Bill Leyden, "but I've never been bored!
I've done other programs for which I'd wake up saying, 'I'd give
anything if I didn't have to go to work today.' This one is different.
It's loaded with so many surprises and dramatic situations
that every day is a new experience."

According to Bill, It Could Be You has received more than five
million letters in the past twelve months. From these letters come
real-life situations that make most fiction seem dull. One of them
suggests that the show reunite Mrs. Elvira Mount and her daughter.
Mrs. Mount lives in the United States, the daughter lives behind the
Iron Curtain in the custody of her father — (Continued on page 62 )

It Could Be You, emceed by Leyden, is colorcast over NBC-TV, Monday through Friday, 12:30 P.M. EDT, under multiple sponsorship.

Acting — not movie stardom — lured these two
to Hollywood. They began in Peyton Price's
classes, right, at Warner Bros, (for whom
they record) — still study drama seriously,
even at home, as seen on the opposite page.

Don (left) and Phil won't be living on hot
dogs to finance their big dream! They have
the cash — and aren't neglecting their music.

Less than two years ago, the Everly Brothers stopped
off in Hollywood on their way to Australia. A film
studio (name withheld) made a screen test of them at a
cost of $25,000. A few days later, Don and Phil were
invited to see the results. They sat silently through the
screening and, when the lights went on, they both
headed for the nearest exit.

"We'll be seeing you," Don called out. "But not in pic-
tures," Phil added. Yet, on the basis of that screen
test, the studio asked the boys to sign up for a movie. They
refused. Phil recalls, "It was (Continued on page 55)

New
Career
Switch
for the

Hjverlys

Tops as a singing team,

Don and Phil hanker after separate

careers as actors. Here's a

report on how they're going about it

by MARTIN COHEN

tmrnm

—

J ^

I '■''■■■ r ■

mtiBBT

Ww'

Worn

She grew

Lynn Loring of Search For Tomorrow
sounds off about the pro's and con's of
being a successful teen-age actress

1 paR*iNG

As actress, she and the role ot Patti have grown up
together, on CBS-TV's Search For Tomorrow —
above, with Mary Stuart and Terry O'Sullivan.
Lynn also acts in TV specials (belowf "Mother and
Daughter," with Patricia Neal and Arthur Hill).

As a teenager, Lynn welcomes her mother's guid-
ance— most "don'ts" come from pressure of work.

by ALICE FRANCIS

Does a teenager pay too dearly for success in TV? Are
the sacrifices too great — in fun missed, broken
dates, scrambled school hours? In the high costs of
learning, and heavy taxes on earning? In having always
to look her best and be on her best behavior? Aren't
the pressures of growing up hard enough — without
adding to them the pressures of performing in public?

Probably no one can answer these questions better than
Lynn Loring, who has grown up on television from
pre-school days to an eighteenth birthday coming up in
July. When Lynn was four, she (Continued on page 75)

Search For Tomorrow is seen on CBS-TV, Monday through Friday, at
12:30 P.M. EDT, as sponsored by The Procter & Gamble Company.

TV RADIO MIRROR'S NEW FACE OF THE MONTI

It's a long road from youthful
choir singer to top recording artist
with fifteen consecutive hits.
For Benton, it's been a happy trip

by PHIL COPPOLA

The whole Benton family takes pride in Brook's success. Above,
Mury sees her husband off for work — a far cry from jobs he held
in earlier days. Below, all three youngsters get into the act,
"taking turns" at the mikes attached to Daddy's tape-recorder.

Home port for the musical pilgrim from Camden,
South Carolina, is now a lovely duplex house on New
York's Long Island. Here Brook Benton shares his hap-
piness with his wife, Mary; Benjamin, 5; Vanessa, 4;
Roy, 3. With plenty of room to spare for his growing
awards and photos of many show-business friends!

IN just two years, Brook Benton has become one of
our brightest vocal stars. He's among the hottest
sellers on wax, with fifteen consecutive hits for
Mercury Records and sales nearing the ten-million
mark. His appearances on such top-rated programs as
the Ed Sullivan, Perry Como and Dick Clark shows
have earned him a wide TV following. His successful
engagements in theaters and clubs, from New York to
Las Vegas, have established him as one of the ace box-
office draws in the country.

Whenever anyone skyrockets to such fame, he gets
many tempting offers to branch out into other forms of
show business. Brook Benton has had plenty of them.
But, thus far, he has concentrated on doing what he
does best — singing. "Just let me sing," he says, "and
I'm happy." It's been his philosophy ever since he was a
youngster singing in a church choir in Camden, South
Carolina. "The other day," says (Continued on page 71)

@f urn & the o/Hontk for Jit

omance

And June's the lucky girl who's to
marry David Nelson this very month .

Dave and June, with Rick and his date Linda Hines, took
a fun-and-work trip to San Diego, lunched at Balboa Park.

The Nelson TV lot is a friendly place, boasts a casual
atmosphere, just right for Dave and June to fall in love.

The story of the engagement of June Blair and
David Nelson has a magical touch, since the two
young people actually met on the set of the long-run-
ning Nelson family show, The Adventures Of Ozzie
And Harriet. June, who had worked in Hollywood as
a model, then as a starlet in several 20th Century-Fox
movies, joined the cast of the series about a year-and-
a-half ago. The role? David's girlfriend, of course. Ap-
parently, the makebelieve romance soon turned real,
and the two handsome young people are headed for a
June wedding. On these pages, we see them on the day
their engagement was announced (facing page), and
on a double date they enjoyed with brother Rick and
Linda Hines during filming of a commercial on location
in San Diego some months ago.

After advertising shots are completed, the gang had a
ball taking ride in miniature railroad in the Park.

At Balboa Zoo, the four young people go "on location"
to film Eastman commercial. Says Dave, "This is work?"

The Adventures Of Ozzie And Harriet, also starring
David and Rick, is seen on ABC-TV, Wed., 8:30 P.M.
EOT, sponsored l>y Eastman Kodak and Coca-Cola.

'- ■ ■ ■

A lot of double-domes predicted that,

after Army service, the Presley craze would die.

Seems they'll just have to think again ...

by JIM MORSE

Late one night in Marc Reuben's Absinthe
House, a restaurant catering to the the-
atrical and newspaper crowd on New York's
West Side, a movie critic for one of the largest
metropolitan papers took a seat next to a friend
and began discussing the star of a film he'd
seen earlier in the evening.

"I tell you," he said, "this fellow is going
to become one of our biggest dramatic stars.
He has the same animal magnetism as Marlon
Brando and Paul Newman. This is something
you don't acquire — you're born with it. He's
a natural. Without benefit of an acting lesson,
he's able to establish a relationship with an
audience that few can achieve.

"Of course, I can't write this in my review.
I'd be laughed out of town. But you mark my
words — this guy is going to make it big as
an actor. There may be a day when people
won't even remember he started out as a
singer."

Who was the subject of this all-out rave?
None other than the "Hound Dog" man him-
self: Elvis Presley.

In the spring of 1960, when Elvis packed
away his Army uniform and returned to civilian
garb, there were many who believed that "the
Presley craze" was over. Public taste had
changed, they argued. The youngsters had for-
gotten Elvis. Presley imitators had taken ad-
vantage of his service stint and had outstripped
him in popularity. Elvis was a show-business

freak, to begin with, and his quick fame —
which had earned him a million or more dol-
lars a year — was now history. Or so these
wishful-thinking observers claimed.

But they hadn't reckoned with Presley, or
with his manager, Colonel Tom Parker.

1961 is turning out to be the biggest Elvis
Presley year of them all. Early this year,
he signed a four-year motion-picture contract
with Metro-Goldwyn-Mayer. And, significantly,
Metro announced that Presley would appear
in both musicals and dramas, with the strong
possibility that he would do no singing at all
in films of the latter category.

But Presley isn't neglecting his singing. Nor
are the nation's record buyers — his discs are
consistently at the top of the best-selling charts.
Among his many awards, one of the most re-
vealing has been Dick Clark's announcement
that Elvis had been named 1960's best male
singer in the annual American Bandstand mail
poll — proving that, although Elvis is now
twenty-five, he hasn't outgrown his popularity
with teenagers, nor has he lost ground to
such young singers as Ricky Nelson, Bobby
Rydell, Fabian, Bobby Darin and others who
zoomed into the limelight when citizen Pres-
ley became Private Presley. Furthermore, the
same voters named Elvis's "It's Now or Never"
the best record of the year!

"It's Now or Never" was Presley's biggest
success since "Hound (Continued on page 57)

• •

Beautifully arranged hair
helps take the wilt out of a
hot day, says Audrey Peters,
star of Love Of Life

by JUNE CLARK

Skilled Charles of the Ritz expert
Leon Amendola shows Audrey
how to maintain her varied
hairdos between salon visits.

As Vanessa Sterling, Audrey wears her hair in a soft
page-boy, a shapely, versatile hairdo that converts into four
others, all flattering to this romantic and wistful beauty.

For an ingenue look, Audrey has
her hair in arched wings off
the brow, the ends flipped up, kept
crisp with a mist of hair spray.

Side-swept setting frames the face, focuses attention on Audrey's

lovely blue eyes. In another version, back interest dominates

with a graceful swag of hair that is "teased" slightly to give

height to crown. Lower hair is set in pin-curls, top in rollers.

he greatest test of coiffure talents comes through a hot and
humid New York city summer. The damp heat of midsummer
days can conquer most settings in a matter of hours. Audrey
Peters, busy each day with Love Of Life, on CBS-TV,
can fit in only a single session a week at her hairdresser's.
Her hair stylist has created a basic shape for her, taught
her to rearrange the skilled setting, turning what could be
a hair-care chore into an artistic endeavor. To achieve
the side-swept style, Audrey begins with a low part,
brushing her hair up from the temple, over and slightly
forward to the right side. Large rollers speed the setting
time, and Audrey rolls hair over for curls that are destined
to spring up, and under for curving fullness. Charles of
the Ritz, who has beauty salons in this country and
abroad, offers this way to learn the proper method of
rolling: Tuck the end of a nylon stocking into a drawer,
pretend it is your hair, then practice rolling the curlers. For
a partless hairdo, Audrey brushes up and back from the
forehead, so there will be no separation after the set. She
is particularly talented with her brush, which she uses
almost exclusively in arranging her hair, especially for
the show — when she must wear it very simply. For more
elaborate hairdos, Audrey teases her tresses. For best results,
according to Charles of the Ritz, don't torture the hair,
don't pull or stretch it taut. Raise a few strands of hair, then
gently comb the very ends toward the head. A few
strokes are all you need to give beautiful results. A light
permanent wave helps Audrey maintain a salon-fresh setting
all summer long, gives body and bounce to her blonde,
finely textured hair, making it a real beauty asset before
and away from the cameras. Another aid is hair spray
that firms and weather-proofs the hair, locking in the set,
preserving the shape. Audrey keeps cool-headed — with style!

A gala evening occasion calls for a
new-dimension coif- that stays
through hours of dancing. Audrey's
hair is brushed upward, then coiled
and pinned into a flat chignon.

Astronomy's a serious subject to Janet. She and mother, Lillian,
put their faith in hope ana hard work, rather than stars or cards.

Talented Janet DeGore
tells about the calculated
"accident" which cast her
in The Law And Mr. Jones

by HELEN BOLSTAD

This is a story about the stars
■ those in the distant firmament and
those who shine here on earth . . . and
the place of both in the life of a star-
gazing beauty whose career is acting
and whose hobby is astronomy. ...
Janet DeGore, who plays James Whit-
more's secretary, Marsha Spear, in
ABC-TV's The Law And Mr. Jones.

Just as Grace Kelly, in her early act-
ing days, was often compared with the
young Ingrid Bergman, so Janet might
be likened to a young Grace Kelly. Her
long hair is golden blonde, smoothly
coiffed to accentuate her classic fea-
tures. Her (Continued on page 65)

The Law And Mr. Jones is seen over ABC-TV.
Fri., 10:30 P.M. EDT, sponsored by Procter
& Gamble, P. Lorillard Co., and Simoniz Co.

But star Jim Whitmore of The Law And
Mr. Jones gave Janet's career a boost!

SPECIAL MIDWEST STORIES

MILWAUKEE'S "MR. VERSATILITY

When WOKY's Steve Morgan was working his way
through college, he gave serious thought to
many careers — medicine, law, engineering. But,
somehow, he felt that the only profession in which
he could be happy for a lifetime was broadcasting.
That's when he decided to major in speech and radio. He
never regretted it, for today Steve is a very happy
and successful broadcaster. He's currently keeping
Milwaukee listeners happy, too, with his news programs,
heard Monday through Thursday, and his record
shows, heard on Saturday and Sunday. Steve admits
to liking music that has a beat. Says he, "Beat is
basic to life. Your heart beats to a certain tempo
and. when you walk, so do your footsteps. Even cities
have a tempo." . . . Besides providing Steve with a
career he loves, broadcasting also introduced him to
his pretty wife Kathy. Steve was announcing a TV
show at WOOD-TV in Grand Rapids, Michigan,
which was a public-service extension program for
Michigan State University. The show was produced by
Kathy, and Steve made several suggestions to her
about ways to improve production. When she returned
to her office at the university extension office, Kathy
spoke to a friend about the announcer at the station
and asked who he was. Her friend had just finished
remarking that Kathy ought to get to know Steve,
when the phone rang. It was Steve . . . calling to ask
for a date. They were married in June, 1957. . . .
The Morgans live in a modern, ranch-style house
done in modern walnut and cool, neutral colors.
One of their current projects is landscaping the lot. Kathy
has planted rose bushes all around the edge of the
lawn, and both she and Steve are working together
on a rock garden. . . . Steve is an avid sportsman and
especially enjoys hunting, swimming and tennis.

He does news, record and panel

shows . . . name it, and WOKY's Steve Morgan

has done or will be doing it

The Morgans' dachshund "Bitte" (German for "please") is
important part of their life. He even supervises gardening.

Favorite

Stopping

Place

. . . best describes Bob Murphy s daily
intervieiv show for Detroit's WJBK-TV

Many celebrities make Bob's Morning Show a regular
stopping-off point. Here, Bob is with Angie Dickinson.

When Bob Murphy slipped into the disc jockey's seat
at WJBK Radio in 1948, he started a career which
has made him one of the most familiar voices and faces
in the city of Detroit. "I am constantly amazed by people
who remember me 'way back when' during the times
when I was a deejay," Murphy says now. Bob quickly
became one of Detroit's top record spinners, and remained
so until the day, in 1950, when he stepped before the TV
cameras at WJBK-TV. Billed as "tall boy, third row"
(he's 6'8" tall), Murphy moved from being a popular
"voice" to the position of a favorite daytime "TV friend"
of Detroit's housewives on his audience-participation
show. . . . Later, after his audience show was discon-
tinued, Bob moved to the role of host on WJBK-TV's

A family portrait: Bob, his wife Joan and the children — Todd, 6; April, 8; and baby Robie.

daily Morning Show, a two-hour movie program, with
guest interviews interspersed throughout the movie. The
program is a pleasant combination of many facets, in-
cluding daily visits by a political science expert, the
city's health commissioner and a child psychologist, all
bent on explaining to Bob and his viewers some of the
fine points of their own specialty — as that area relates
to the average housewife. . . . Recently married to a
former model, Murphy has taken to the change from
bachelorhood to head-of-family with an uncommon zeal.
''If anyone had told me a year ago that I would be on
hands and knees in a tulip bed this spring, I would have
laughed. But, this year, I will be — and I am looking for-
ward to it like a kid waits for Christmas." Bob and his

wife Joan have three children, Todd, six, and April, eight
(both from Joan's previous marriage), and Robie, a
new-this-year baby. The Murphys live in suburban
Birmingham, a residential area north of Detroit and
about a thirty-minute drive from the WJBK-TV studios.
After years of being a "bachelor's bachelor," Murphy
has found a "whole new world" as a family man. In
addition to the family responsibilities, Bob and Joan
now spend long hours planning the traveling which they
will do, and which they jointly love. Both have taken
up painting and Bob has been recently bitten by the
photography "bug" in a big way. "In a big way every
way except the pictures," he says. "I'm still trying to
get a decent picture of our new baby."

LUCKY LEN

Len has lots to smile about — a lovely
family, a job he loves and lots of fans.

Ask Len Goorian about his work and he'll say, "I'm lucky to be working at a
profession I really love." That's especially true of his job with WKRC-TV

If it were possible to staff a station with just one man,
Len Goorian would come pretty close to filling the bill.
During his thirty years in show business, he has been — at
one time or another — a dancer, night-club comedian, TV
director, producer and writer, radio-station owner, ballet-
theater manager, public relations director and operetta
singer. Currently, he is devoting his time and versatile
talents to The Len Goorian Show, a live variety program
directed toward people who enjoy good conversation and
entertainment. It's seen Monday through Friday, from
1:30 to 2 p.m., on WKRC-TV, in Cincinnati, Ohio. . . .
Brooklyn-born Len has been in some form of show busi-
ness since the age of ten. He has worked on everything
from the Borscht Circuit to staging dance exhibitions on

boats going to South America. At WCPO, in Cincinnati,
he produced, wrote and did the choreography for the
three-hours-a-day Paul Dixon Show, and he was also
president and sales manager for WZIP, in Covington, Ken-
tucky. . . . During World War II, Len was stationed in
Fort Thomas, and it was there that he met his lovely wife
Mera, a ballet dancer who was helping to entertain the
soldiers in the hospital. Today, they live in a Southern
colonial house furnished in American and English an-
tiques. They have two daughters — Donna, 10, and Viva, 6
— who, according to their father, love to collect things,
especially small animals. . . . Len says his hobby is horse-
back riding — "but I usually spend most of my leisure
time flat on my back just relaxing."

Only'Len, wife Mera, Donna (10), Viva (6), dog "Tawny" were available for photo but the kids collect snakes, frogs, cats, too!

Riley clan: Ealing out — Bill; Peggy, 12; Theresa, 9; Eddie, 7. Looking out — mom Ann; Pat, 14; Billy, 3.

Meet Bill Riley, of KRNT-TV and Radio in Des Moines,
whose lucky number is 19 . . . read on and you'll find out why

About to start his nineteenth year . . . and currently
doing nineteen shows a week . . . that's the status of
Bill Riley, of KRNT Radio and TV, in Des Moines, Iowa.
Bill probably breaks another record every time he intro-
duces another of his popular programs. And the programs
run the gamut from children's shows to a telephone party-
line on radio to auctions to quiz programs. . . . After a
wealth of early experience with a weekly newspaper, for
the Department of Agriculture and the O.W.I., Bill came
out of World War II as a Military Police Officer. This
was in October, 1943, when he first joined the KRNT
Radio news department. In a very few months, Bill was
not only doing news but sports, as well, and then headed
up the continuity and production departments. Ultimately,
he became strictly an air personality, and certainly the
unchallenged "Mr. Radio and Television" of Iowa. . . .
Just last year, the Iowa State Fair Board asked Bill to
conduct a massive, all-Iowa search for talent to be culmi-
nated with competition at the world-famous Iowa State
Fair. Bill pitched in, with his usual enthusiasm, and
provided the State Fair of 1960 with one of its top at-
tractions, according to the enthusiastic State Fair offi-

cials. . . . Currently, Riley is master-minding the second
year-long search for talent for the 1961 Iowa State Fair.
This involves talent shows in the towns and cities of
Central Iowa for schools, civic groups and county fairs.
Also, each Sunday, the Iowa State Fair Talent Search
television show is presented on KRNT-TV, with winners
advancing to next summer's competition at the Iowa
State Fair. . . Riley, the personable Irishman, is married
to a true Danish beauty named Ann and they have five
fine children — Patricia, 14; Peggy 12; Theresa, 9; Eddie,
7; and Billy, 3. "The mob," as Bill calls the Riley clan,
is constantly enjoying family activities, whether it be
ice skating in the winter or camping in the summer. . . .
When asked why he hasn't ever taken advantage of other
opportunities in larger markets, Bill's answer is always a
very simple one: "Why should I? You can't change your
luck — when you have had all the luck for nearly nineteen
years." By the way, one thing we forgot to mention: Bill
also finds time to write a popular newspaper column which
is featured in Iowa weekly newspapers. How many
newspapers carry the column each week? You have
probably guessed it . . . nineteen!

New Career Switch For the Everlys

(Continued jrom page 36)
an upset and setback. We saw our-
selves and we knew that we couldn't
act. We've turned down at least ten
picture offers because we knew they
only wanted to exploit our reputation
as singers."

It was a sensible and courageous de-
cision for two young men to make. So
it came as a surprise to hear- recently
that — not only were the Everly Broth-
ers taking acting lessons for TV and
movies — but they would split up, if
separate opportunities occurred!

"We have separate lives now," Phil
says. Brother Don nods agreement and
continues, "If a producer comes up
with a movie for Phil alone, that's it.
I'm not going to stand in his way. and
he won't stand in mine."

The Everly Brothers are the coun-
try's top-ranking singing group, with
an annual income of around $300,000.
For Don and Phil to go separate ways,
to make movies, seems to make about
as much sense as the Smith Brothers
splitting up to make chocolate bars in-
stead of cough drops. But Phil and Don
told their story and, with it, came the
real story — a story of unusual growth,
maturity and sincerity.

You have to go back to January of
1958, the first time they got to New
York. Don was twenty-one; Phil, nine-
teen. They were awkward and uncom-
fortable. Their reluctance to talk made
them seem almost rude. Personality-
wise, they were as flat as yesterday's
joke. But they told an honest story
of two Kentucky-born singers who
worked their way up to a big record in
spite of days when they hardly knew
where the next meal would come from.

Their record, "Bye Bye Love," was a
million-seller. And their next, "Wake
Up. Little Suzie," again struck gold. So
did the next, and the next. Not one of
their discs has sold under a half -million
and some have hit the two-million
mark. Their talent for new sounds was
acknowledged throughout the industry.

Three years later, the Everly Broth-
ers were vastly different from the duo
that first hit the big city. Fashionably
dressed, smiling and relaxed, they
talked of their- travels. They discussed
books they'd read. They argued about
Freudian theories and the sense of pro-
gressive jazz. Yet there was still a trace
of the introvert in them, especially in
Don. They had been talking about club
work and the need to develop other
talents besides singing. Don said, "If
going into a club means I've got to learn
to dance, I'll never perform in a club.:"

"You have too many- inhibitions,"
Phil commented — and Don snapped,
"Just because you walk around with a
copy of Freud under your arm doesn't
mean you can analyze me!"

Phil countered, "Your reaction
proves that you're obviously in need of
medical care!" They stared at each
other, and suddenly they both laughed.
Don added, "Anyway, we're singers.
We're not going to do anything that
makes us think we're violating our in-
tegrity."

But, in mid-1960, the Everly Brothers
did something very peculiar for human
beings: They canceled out money —
they canceled out all TV and personal
appearances, and took off for Holly-
wood. Not to make pictures, but to
study acting.

"It's a funny thing that's happened
to us," says Phil. "It's like starting all
over again. I can remember when we
started in music, and it's brought back
this feeling of looking for the big break.

"Now, maybe this is self-flattering,
but I think we have something to say
or we wouldn't have struggled to make
a success in music. Right now, we know
instantly when we're singing off-key.
Well, we want to have enough knowl-
edge of acting to know when we're
acting off-key."

The brothers have no illusion about
becoming great movie stars overnight.
"We think of becoming actors," says
Don. "And let me make this clear: A
lot of singers did make pictures, and
I think we could have done as well as
most of them. But that's not good
enough for us. And we don't want to be
exploited for our popularity as singers.

"We're not under contract to make
movies for anyone. When we signed a
new recording contract with Warner
Bros., this past year, the question of
making movies for them came up and
our attorney explained that we wanted
to keep ourselves independent. We
want to be able to decide on the basis
of the script. Not the company."

Would they split up to make a pic-
ture? "That's what we expect," says
Phil. "I can't imagine a picture script
that would have two good parts for Don
and me. It might happen — but we know,
from experience in the music business,
the problem in finding the right song to
record. We often spend as much as two
months finding the material for a single
record. It might take even longer to find
a good script. Right now, we're willing
to give this as much as three years, to
get the right start. We expect to work
at this, just as we worked at the mu-
sic business."

Their youthful appearance is de-
ceptive. Both boys have strong minds.
Professionally, they deserve full credit
for their recording success. They alone
choose the numbers to record. When
they step into the recording studio, they
have the entire arrangement in their
heads. Phil may walk over to the mu-
sicians and tell them what is wanted in

An Exciting

Pageant

Of Entertainment
And Information

Featuring . . .

THE SECRET

LIFE OF A
SEX STATISTIC

From Hay Fever to Sunburn

NEW WAYS

TO CONQUER

SUMMER MISERIES

THE WHOLE TRUTH
ABOUT LYING

What makes us lie—
and why we all do

12-Page Special Report

WHAT'S AHEAD

IN THE RACE

INTO SPACE

PAGEANT'S COMPLETE

HOME BARTENDER'S GUIDE

AND PARTY MANUAL

Plus A Host
Of Other Articles
And Photo Stories

in July

Pageant

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fit takes 4% yards 35-inch fabric. State size.

35(/'

B Send orders (in coin) (or <'<i<h pattern to: TV Radio Mirror, Pattern Department, P. O. Box
137, Old Chelsea Station, New York 11, N.Y. Add 10(f for each pattern for first-class mailing.

Send !">' for full-color Fashion Catalogue (see cover above).

the way of rhythm and instrumental
background. Don goes over to the Anita
Kerr Singers, who often back them up,
and sings out the choral part. And they
explain to the sbund engineer the blend
they want. The product is wholly that
of the two young brothers.

With such self-assurance, there is
often a characteristic stubbornness and
Don allows they have this, too. "But
when I was being stubborn about
learning to dance, it was something
else again. I thought doing something I
didn't want to do would violate my
integrity.

"Well, at first, I thought acting would
do the same. Now I've learned to un-
derstand that, if dancing or acting
makes you feel foolish, then there is
something wrong with you. Now that
I've been learning about movie tech-
niques, I find that I'm no longer uncom-
fortable. I even have no qualms about
learning to dance."

Phil breaks in to say, "We're right at
the beginning. Like infants. It seems
we're learning about ourselves and life
and acting, all at the same time. That's
why it's so exciting. But I won't let the
excitement carry me away. I think I'd
be embarrassed to take a part in a
movie that I felt I couldn't do."

The brothers repeated that they truly
hope their movie careers will go sep-
arate ways. But Don adds, "We're
brothers. We've been working together
all our lives and, although we argue
plenty, we need each other. Now, if
Phil got into a picture that was to
take two months, I would stay right in
Hollywood with him, just to lend moral
support."

Questioned as to whether their popu-
larity as singers wasn't making them
over-confident about their potential as
actors, Don says, "I don't think a sing-
er is better equipped to act. Singing is
the voice, and acting is the use of the
whole body. We know that the best
actors have twenty years or more ex-
perience behind them. But, in one re-
spect, we are lucky. We have money
enough to take our time and start off in
a small but worthwhile way. We're not
looking for starring roles. Either of us
would be happy to have a small part,
if it's a good one, in a good picture."

The boys agreed their hope is that
their movie careers will be independent
of their brother-act as singers. "We are
both opposed to playing 'the Everly
Brothers, singers,' in pictures," says
Phil. "But we have not the least idea
of splitting up as a musical team. The
proof of this is that we have a ten-year
recording contract and it stipulates the
Everly Brothers.

"Don and I often argue. We've dis-
agreed on a single point for days or
months. But, in the end, we find that
we want the same thing: We want suc-
cess— but not if we have to sacrifice
integrity and performance."

1961 — Presley's Biggest Year

(Continued from page 44)
Dog" and "Blue Suede Shoes" — both
of which sold more than two million
records. Explaining how he came to do
"It's Now or Never" (the Presley ver-
sion of the Italian ballad, "O Sole
Mio"), Elvis says: " 'O Sole Mio' has
always been one of my favorite songs.
I liked the Tony Martin version,
'There's No Tomorrow,' and I often
play the record by opera singer Jan
Peerce. I used to sing it myself, and I
told the music company to get me a new
set of lyrics.

"I don't read music, but I know what
I like. When a record date comes up, I
fool around with the number and have
the chorus put in some 'oohs' here and
some 'ahs' there, and maybe add some
piano. That's the way I did with 'It's
Now or Never.' It wasn't rock 'n' roll,
but it did have a little beat. I think it
turned out pretty good."

Presley's first truly dramatic assign-
ment in Hollywood was in the film,
"Flaming Star." He told a reporter, at
the time. "I don't claim to know much
about making movies. I leave all the
decisions to people who do. I just do
my best." Informed that the script had
originally been written with Brando in
mind, he commented with modesty but
without awe: "I'm glad they thought I
could do a part designed for such a
fine actor."

What did the critics think? The re-
view of Archer Winsten in the New-
York Post was fairly typical: "This
singing fool keeps surprising you. He
can act, and he proves it whenever he
tries."

Although Presley has made only one
TV appearance since his Army dis-
charge (the $100,000 guest-shot with
Frank Sinatra), he very definitely is
planning on television in his future.
It's all a matter of money.

Colonel Parker, who calls the shots
for Presley with amazing skill, has
tagged Presley's price for TV appear-
ances at 8100,000-pZus. As the Colonel
explains: "If his fans are unable to see
Elvis for free on television, they're go-
ing to buy his records and spend money
to see him in the movies." Elvis gets a
percentage of the movie profits (for
two recent Hollywood releases, he was
paid $500,000 plus fifty percent of the
profits).

It has been estimated that Presley's
1960 income was in excess of $1,500,-
000 — and Parker claims that, whenever
Elvis has the time, he can pick up
$800,000 for two weeks' work in Eng-
land, Ireland and Germany. Not bad
for a guy once described by a columnist
as a performer "who looks as though
he's suffering from itchy underwear
and hot shoes!"

That was early in Presley's career,
when he had just climbed aboard rock

'n' roll and taken the country by storm.
In those stormy days, Jack Gould, TV
critic of the New York Times, cut
loose on his typewriter with this blast:
"Presley has no discernible singing
ability. His specialty is rhythm songs
that he renders in an undistinguished
whine. From watching Presley, it is
wholly evident that his skill lies in
another direction. He is a rock 'n' roll
variation on one of the most standard
acts in show business: the virtuoso of
the hootchy-kootchy."

However, even in those days when
Elvis was the most controversial per-
sonality in show business, he had his
defenders among the critics. Fred
Sparks, in the Scripps-Howard news-
papers, wrote: "I am bored to illness
by the eggheads, long-hairs, teacup
tipplers, self-appointed moralists, and
arty snobs who are running around this
country saying 'Elvis Presley must
go.' " Sparks' mail ran 25-to-l in Pres-
ley's favor.

Another early-day defender was a
man whose career somewhat estab-
lished the pattern of Presley's — singer-
actor Burl Ives, who said: "I think
Presley's the greatest. He has a fine
voice and a great deal of talent. Any-
one who says he contributes to de-
linquency is blaming the wrong party.
If someone is going to do wrong, he's
going to. Presley isn't going to be the
make-or-break factor. One kid gets
out of line and a million are condemned
— often in the name of rock 'n' roll and
Elvis Presley."

These barbs and bouquets were is-
sued prior to Elvis's military career,

when he was the undisputed king of
rock 'n' roll. In the year following his
return to civilian life, there is evidence
that Presley has matured.

The sideburns are gone, and the hip-
swinging has been considerably tamed.
His recent record releases have in-
cluded ballads. In his movie roles, he
has played adult parts, working without
a guitar. And, in a further obvious ef-
fort to win the approval of the post-
teen audience, Elvis recorded an album
of hymns called "His Hand in Mine."

What of the competition?

Elvis has it, to be sure.

In 1954, when RCA Victor first flood-
ed the nation with Presley records, he
was in a field by himself. Elvis was the
only singer who combined rhythm-and-
blues and hillbilly. And he was the
only one who accompanied his tunes
with bumps and grinds.

Since then, however, several singers
have invaded the teen-age market —
among them, Paul Anka, Frankie Ava-
lon, Conway Twitty, Bobby Darin, Bob-
by Rydell, and Tommy Sands (now
temporarily out of action as a member
of the armed forces).

All of the above-named — like Pres-
ley— have Hollywood contracts. One
cynic has commented that it's only nat-
ural that singers who can't sing turn
into actors who can't act.

Following the success of Presley's
films, rival producers hopped on the
bandwagon and youthful singers even
began appearing in Westerns. In addi-
tion to cashing in on the popularity rat-
ings, producers are also optimistically
looking for "another Bing Crosby,"

Big man in Memphis: Mayor Henry Loeb (center) congratulates both
Elvis Presley and the star's wise manager, Colonel Tom Parker (left).

since Crosby was the first of the popu-
lar crooners to win acclaim as a non-
singing actor.

Frank Sinatra, of course, followed
Crosby — with even more success. Since
his portrayal of Maggio in "From Here
to Eternity," he has been one of the
busiest and highest-priced actors in
Hollywood. Sinatra became a "second
Crosby."

The big guessing-game now has been
who would become the "second Sina-
tra." And the leading candidate, with-
out doubt, is Elvis.

Contrary to what happened to others
when their career was interrupted by
Uncle Sam's call to service, Elvis' popu-
larity remained secure.

All during his Army hitch, he re-
ceived an estimated 15,000 letters a
week from his admirers, requiring the
services of three secretaries. During
the Christmas season, he received 400,-
000 letters from well-wishers who
wanted him to know that he hadn't
been forgotten.

A major share of this continued
popularity was due to the foresight of

Colonel Parker. In the months preced-
ing Presley's induction, Elvis made sev-
eral records which, under the Colonel's
direction, were held up for release
while Elvis was out of the country.

There have been many and varied
explanations for Presley's success. Dr.
Harold Greenwald, a practicing psy-
chologist, said Elvis appeals to youth
because "his surly look and the way he
dresses and moves are signs of rebel-
lion and symbols of defiance." Similar
words have been used to describe
Brando, Newman, and the late Jimmy
Dean.

Most important of all, perhaps, is
that Elvis won the respect of even his
severest critics by his conduct while in
khaki. He resisted all efforts to exploit
his fame. He asked no special favors.
He was a G.I. and expected to be treat-
ed like one.

Elvis' venture into the field of drama
has unquestionably been made easier
by his physical appearance. Devoted to
the study of karate and judo, the Japa-
nese forms of attack and defense, Pres-
ley is a taut 180 pounds, has great bal-

ance and recovery. He does all his own
action-scenes in the films. Actually, his
athletic ability has been good for all
his movement, which Dolores Del Rio
once described as that "of a young
panther."

Also going for him is a fine memory,
so that remembering his lines is no
problem. As an example: While in high
school, he heard General MacArthur's
speech to Congress upon his recall
from Korea and, becoming interested,
memorized the last few paragraphs
from hearing them just once on the
radio.

A Hollywood director, speaking of
El vis's talents, told an interviewer:
"Once in a while, someone comes along
— an Edison or a Bach — who's been
tapped on the shoulder, who's got a
great gift. This boy's got it."

Far from being a has-been or an
also-ran in 1961, Elvis Presley is prov-
ing that he's going to be looking down
at the scrambling competition for a
long time.

He does indeed "know what I like" —
and he likes being at the top.

Teal Ames Tells: "Why I Left The Edge Of Night"

(Continued from page 23)
Why is everyone so excited about her?
What happened today on The Edge Of
Night to start such an uproar?"

Letters began to block normal mail-
room procedures. Sackfuls from the
New York area alone, snowballing day
by day. Some local stations forwarded
mail, some merely reported it was be-
yond belief. TV Radio Mirror itself got
hundreds of letters, sent directly to the
editor, containing such comments as:
"Why did this wonderful story and this
wonderful family have to be broken
up?" . . . "My friends and I are wonder-
ing why Sara had to die and leave Mike
alone." . . . "Our whole neighborhood
is waiting to hear why Teal Ames left
the show. It's like losing a very dear
friend." . . . "Thousands of women must
have wept for Sara and her family, as
we did." . . . "My husband hurried
home to watch the show with me every
day. And now Sara is gone."

If the network and agency and the
sponsors were astonished at the quick
and violent reaction to Sara's demise,
Teal Ames was even more so. When the
CBS head of promotion asked her to
come in and take some "conference
calls" — a round-robin of phone calls in
which half a dozen or so editors were
on the line and Teal answered their
questions — she was still in a state of
bewilderment.

"I must say it was ego-satisfying,"

J she observes. "I had no idea that what

R happened to me would make that much

impression. I knew people loved Sara,

and I knew they would miss her very
58

much. But I had to leave when I did."
Why didn't the show simply replace
her, immediately or later?

Don Wallace, its producer, says:
"Teal had told us she wanted to go. Her
contract was expiring, and this was her
right. Of course, we would have liked
to keep her on the show, but she had
made up her mind. TV is essentially an
honest medium — anything dishonest in
a story shows up quickly. The Edge Of
Night has always been an honest pro-
gram. To please our audience, we could
have sent Sara away for a time. But
she is not the kind of person who would
ever leave her husband.

We couldn't put another girl in the
show and call her Sara. Teal was too
closely identified with the part in every-
one's mind. It was not illogical to have
her pass on. Death comes to families,
and mothers sometimes give their lives
to save a child. This is what Sara Kan-
did. She ran into the street to save
Laurie Ann from the wheels of an auto-
mobile, and was herself struck down."

Why did Teal herself want to leave
the show?

"I left because I felt primarily that
the time had come to expand, to do
some things that would 'stretch' me, and
my talents. I had been Sara during five
wonderful years. I loved her. I loved
my TV family. But when the time came
to sign a new contract, I found myself
wanting to be in a position of greater
freedom. To be able to try new parts,
play other kinds of women. Maybe to
work in something like the Shakespeare

Festival, or a Broadway or off-Broad-
way play. In the big nighttime dramatic
productions on television. In roles com-
pletely new to me, presenting new
challenges."

Indirectly, Teal left because there are
certain things she now wants from life:
"A girl who is tied so closely to a job
may neglect other aspects of her life.
Getting out and meeting many kinds of
people. Having time to get to know
some of them well. Looking ahead to
a home, and marriage. A husband's
wishes might have to take second place
to the demands of a long-term job."

She has a house in a suburban area,
which she shares with two other ac-
tresses, the first step toward the country
living she would like for part of every
year. She wants to live on a farm
someday. "It is possible to have a life
like this— a life in the theater and a life
in the country. I want some of both
these worlds. I want to work intensive-
ly, and then be free for a period."

Some of that freedom she wants to
use in travel. She has an invitation to
visit friends in Japan. "East and West
are beginning to meet, and I want to be
a small part of that. Long trips are
simply out when you work in a day-
time serial. You can't be away that
much."

How did she prepare to break away
from the show? What were her feel-
ings? "I thought about it a long time.
These people had all become dear to
me. They were like a family. And there
was the audience, too. People all over
the country who had bothered to write

me. We had established lasting friend-
ships through letters — friendships I in-
tend to continue."

What was the final break like?

"First, I must tell what happened a
few weeks before my last day on the
show. We had started our broadcasts,
in 1956, from a CBS studio which we
vacated after six months. Then, those
last weeks. The Edge Of Night was
transferred back to its old studio. I
hadn't let myself think too much about
leaving, and what it might mean to
me, up to that point.

But when I walked in. a flood of
memories came back. My happiness
when I got the part of Sara. Working
with John Larkin and the rest of the
cast and crew. The way everyone had
helped me from the first day, especially
John, who knew so very much more
than I did. It was like getting to page
100 in your life, suddenly flipping back
to page 50, and remembering what you
felt at that time. What have I set in
motion? I asked myself. Will I ever
again find such a wonderful group of
people and work under such happy con-
ditions?"

The very last day filled her with
mixed emotions. She stood at the
threshold of something new, but the
old still called to her. "There are al-
ternate directors on the show, Allan
Fristoe and Dick Sandwick. Allan had
directed the accident scene and Dick
was directing the scene in the hospital.
He had some ideas which were very
moving. John Larkin and I decided to
go easy during rehearsals and try not
to be too emotional. We were saving
that, and ourselves, for the actual
broadcast.

"But it didn't work. We were moved
to tears each time we went through it.
The scene was so well written, so
poignantly directed, that we had to play
it to the hilt. I had never before played
a death scene, and I was grateful it
wasn't long and drawn-out. That it had
not been made harrowing and morbid.

"Actually, it was a beautiful scene,
because John handled it so beautifully.
When he softly sang, 'And for bonnie
Annie Laurie, I'd lay me down and
die,' I could hardly keep the tears back.
Sara had died for Laurie Ann, their
daughter. Perhaps some people still
didn't know that, in real life, Laurie Ann
is John's daughter, Victoria Larkin. An
adorable child, who was just beautiful
to work with. She's a natural-born
actress."

Teal almost spoiled the surprise fare-
well party that was given for her, by
planning one of her own in the studio
immediately after the show. "Everyone
who had planned to be at the surprise
party had to show up at mine, to keep
me from suspecting. I was so excited
that I didn't change from the hospital
gown I wore in the final scene. One of

my friends saw me pouring champagne
for my guests in this funny short night-
gown and whispered, 'Don't you think
you ought to take time out to get
dressed?' "

By a pretext, they got her over to the
hotel where their big party was waiting
for her. By this time, she was practical-
ly in tears. The spray of red roses they
gave her was presented with deeply
touching words of appreciation and af-
fection. So was the charm bracelet, to
commemorate the five years then end-
ing.

"I never had a charm bracelet," says
Teal. "I always wanted one, but felt it
should have special significance. This
has. The tiny basket of flowers which
dangles from it is to remind me that I
was working in a flower shop in my
early scenes on the show. The little
bride-and-groom is for the marriage
of Mike and Sara. The baby carriage is
for Laurie Ann. The poodle is for a
poodle I owned who appeared with me
a few times. The TV camera, the medal
which gives the name of the show and
the dates, and the wishing well with the
little bucket that goes up and down —
these are self-explanatory. The wishing
well belongs to the future — my future."

What will the future bring to Teal
Ames?

At this writing, it is filled with excit-
ing promise. A Theater Guild offer to
tour Europe with a repertory company
had to be turned down because a part
was pending in an off-Broadway show
she may do this summer or fall. There
is talk of a Broadway show. There are
some nighttime TV dramatic roles.
There are also some trips she wants to
take — short ones, and perhaps the long
one to the Orient she has dreamed
about so long.

Everything in life has a beginning,
and an end," she says. "Many times you
want to fight the end of something,
especially of something you have loved.
But you must move on."

Meantime, The Edge Of Night has
had an audience bonus. Little Laurie
Ann, desperately ill at the time of Sara's
death, is restored to health, and to the
arms of her adoring father, Mike Karr,
and her grandparents. Even those view-
ers who could not accept Sara's pass-
ing, at the time, have found new in-
terest in the story's growing develop-
ments.

"I'm glad they chose the way they
did," Teal says now. "When I left the
show, Sara did, too. It would have
seemed strange to watch anyone else in
my part."

She can see herself in it, any time she
wants to run the kinescope of that
final scene. The program presented it
to her, as one more remembrance of five
good years on The Edge Of Night. And
of Sara Karr, the girl Teal Ames helped
to create.

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What's New on the West Coast

Lassie to the studio and, after the
day's shooting, back to the ranch.
Taking a cue from other shows, Lassie
will travel on location for some film-
ing. One of these spots will be the
Grand Canyon — which has led to a
joke among the members of the troupe.
"'When the dog gets there," they kid,
"they'll rename the place Grand
Canine."

Playing the Field at the Academy
Awards: The fashions displayed at the
Oscar ceremonies were probably the
outstanding feature of the evening,
aside from Liz Taylor's personal tri-
umph. Sal Mineo's date, Tuesday Weld,
was darling in a short black chiffon
with white fox jacket. Polly Bergen
wore a startling lime-colored coat
lined with ostrich feathers, over a
matching full-length sheath with diz-
zying interwoven beading. Mrs. Bob
Stack was in rose crepe, with a top-
ping of gray mink. Liz Taylor, too
weak to go through the ordeal of a
press interview, only stayed briefly
for the champagne party afterward.
She made a spectacular entrance on
Eddie Fisher's arm, in a Dior gown
with mint bodice and white skirt with
mint-flower embroidery. But poor
Natalie Wood, an avid movie fan, had
to view the whole affair by way of her
TV set. She'd just had her tonsils out
and was "grounded" by doctor's order.
To hubby Bob Wagner, she moaned,
"and I had a special gown made that
was out of this world . . . and here I
am in matching p.j.'s, flannel bathrobe
and neckpiece of white cotton." That
the old glamour still lives in the
hearts of many fans was shown when
Ginger Rogers arrived to applause that
outranked most other stars'. Ginger
looked trim and glowing, undimmed by
time. More than one starlet cast an
envious glance her way. This is espe-
cially remarkable, since she uses only
lipstick for makeup. But her hair, the

Welcome to the fomily — young Jeb gets
a greeting from rest of the Adamses.

(Continued from page 5)

object of much admiring comment, was
the one false note in her gay array.
"Truth is," she confided, "I've got on a
wig. I've had five made for different
occasions, and you have no idea how
much time and trouble it saves. It's
also nice on a damp, cold night."

People and Plans: John Payne's fans
will be happy to learn that he's in
top shape again after four months of
recuperation from that New York hit-
run accident. For a while, it was
feared he might be scarred, but John
proved to have marvelous recuperative
powers, and has only one tiny line on
his forehead, which only makes him
more attractive and exciting looking
than ever. He's basking in daughter
(by his first marriage, to actress Anne
Shirley) Julie Ann's career these days
— particularly enjoyed a screening of
her Dobie Gillis segment (June 13).
. . . "Look, Ma, No Ulcers!" was the
way tanned Rory Calhoun greeted us
when he returned from his third trek
to Hawaii in fourteen months. While
there, he purchased an apartment
house and says he'll retire to Honolulu
in five years. "I'll have been in the
business twenty-three years by then,"
said he, "and that's long enough. I say,
move over and give others a chance.
Besides, I want to enjoy my children
while they're young — not suddenly
wake up one day to discover I've
missed sharing all their important
growing-up years." . . . Bob Cum-
mings insists that the Aerocar (an
auto that sprouts wings to become a
single-engine plane) will become the
number-one mode of transportation
on the nation's highways within ten
years. You'll be seeing a lot of the
gadget on his new fall weekly comedy
series, in which he plays a high-living,
free-spending adventurer who doesn't
jump into a taxi and say "follow that
car," but hops into his Aerocar and
"flies" after, instead. . . . Good News: The
old Four Star Playhouse group will be
back together again on next fall's Dick
Powell anthology series. David Niven,
Charles Boyer — plus Curt Jurgens,
Robert Morley and Jack Hawkins —
have already been inked for starring
segments. . . . Debbie Reynolds, por-
traying a female sheriff in "Star in the
West," rides a horse, tends livestock
and does other physical chores in the
film. To look more natural, Debbie's
been doing her own housework in
order to toughen up her hands. "I'm
not a stickler for realism," the star
explains, "but, at the same time, I'd
look — and feel — ridiculous tossing
grain sacks around with velvety
hands." Debbie once visited another
movie set in which a beautiful actress

From tree-swinging to gunslinging — ex-
Tarzan Scott Miller joins Wagon Train.

was doing a scene in which she was
just rising from bed. After a hair-
dresser, makeup man, etc., finished
polishing the actress, the director
turned to Debbie and said, "Well, now,
I guess she's ready." Debbie looked
him in the eye and deadpanned, "Oh,
yes, I'd say so. I always look just like
that when I get up mornings, too. I
just get a 'messed-up' look while driv-
ing to the studio." . . . Alan Young
has hopes his Mr. Ed series will go from
syndication to network next season.
Contracts with CBS are currently be-
ing worked out.

June, June, That's a Honeymoon?
For pretty green-eyed June Blair,
June is the month she becomes June
Nelson and takes off with David on a
honeymoon she describes as "a real
Alaska ball." With the blessings of
Harriet and Ozzie, the happy pair are
headed for Anchorage, where David
will appear with "The Flying Viennas"
as their catcher. He has done numer-
ous shows with this famous trapeze
act. June's engagement ring was a
replica of Harriet's, an antique that
has been in the Nelson family for years.
Seeing them off is a grinning Ricky,
who plans to serenade his new sister-
in-law and then rhapsodize as follows:
"You can watch Dave swing through
the air at the Shrine Circus, then you
can go hunting caribou in the snow,
then you can chop through ice «and
spear fish and eat them raw. And, in
the evening, you can walk through the
woods, listen to to the mating calls of
the bears, and rub noses for fun."

The President's Feminine Fans

(Continued from page 12)
viewing audience at one time, much
less for a more or less regular series
of appearances on nationwide tele-
vision.

Witnessed by millions, thanks to TV,
the Inaugural itself was the first official
opportunity to view the new President
and his first lady, Jackie Kennedy. Said
a teenager from Woodhaven, on Long
Island: "I'd love to grow up and have
the style that Jackie has, and marry
a guy like the President."

Such teen-age admiration for the
former Senator from Massachusetts has
the Republican camp more than a bit
worried, come the 1964 Presidential
elections. For it is then that these
present-day "minors" will be of voting
age. The combination of youth and
good looks, charm and know-how — as
evidenced by Jack and Jackie — seems
to have captivated at least three-quar-
ters of the female population.

"I had to see him. He's just the great-
est." said fourteen-year-old Kaye Lynn
Eikenberry, of Greenville, Tennessee,
to White House guards who stopped
her outside the Presidential gates.
Kaye, it seems, had saved twenty dol-
lars from her lunch money, after see-
ing a Kennedy story in TV Radio Mir-
ror. Then she had hopped a bus, de-
termined to see President Jack, and
got as far as the White House before
she was halted.

"He's got the magnetism that sustains
the complete interest of young and old
alike," said a veteran press man. "It's
almost like the days when the bobby-
soxers were going wild over Sinatra,
along with their grandmothers."

When the Clan of Hollywood went
over en masse to Kennedy's side, their
pixie queen, Shirley MacLaine, was
right out in front, speaking up in praise
of Jack. Shirley led a contingent of
Hollywood's more serious glamour
gals. Judy Garland sang. Shirley sang,
danced, and spoke up loud and clear.
Marlene Dietrich used her brains, as
well as her incomparable and inde-
structible glamour.

One of the stunning phenomena of
our time was the fact that — although
every Presidential candidate in modern
times has wound up in the red after
his campaign and owed a considerable
sum — Jack wound up free and clear of
any debt. Why? "Sinatra decided to
throw that fund-raising clambake in
Washington to clear up all the campaign
debts, and every big talent and glamour
doll of any worth jumped at the chance
to help out," a talent agent informed
me. "And they did it free of charge!"

Recently, I walked into a beauty
parlor with a girl acquaintance, to lis-
ten to the things women in beauty
shops talk about. The usual local gos-
sip prevailed, and the chit-chat about

the newest styles of dress and coiffure
took the floor for their share of time.
But then these same women, who had
idled away their earlier moments dis-
cussing what Sally wore at the local
dance, suddenly began to discuss the
problems of national unemployment —
and they discussed them quite intelli-
gently, too.

The reason? "I watched the Presi-
dent on his television discussion, and
it all suddenly dawned on me that
people in some sections of the country
are desperate. Then he said that he
was working some of the problems out
with his advisers, including his Mister
Goldberg." It was impressive that these
women were aware of who one of the
President's new top men was. Jack had
made the name stick in the minds of
the people who'd elected him and ex-
pected action.

Said a fashion consultant named
Jeanne Dressell: "I'm fully aware now
of what we all have to do to preserve
the American way of life. President
Kennedy made it that much easier to
understand by his forthright press con-
ference on television."

Never has there been such a wave
of national communication. The tele-
vision sets go on, millions sit down,
and — speaking openly, just as if he
were a guest in a friend's home — Presi-
dent Jack Kennedy tells them what is
ailing in their community and what
they can all do to alleviate the situa-
tion. "We think that's the best way to
deal with a problem," he said, "bring
it out in the open."

Aside from their political stimula-
tion, Jack and his lovely Jackie have
also made the nation aware of its art
and literary background, and the vari-
ous other cultural forces about them.
As artist Boris Lurie said, during his
exhibition at the March Gallery in
Greenwich Village: "The crowds are

good. They appreciate what I am trying
to say in my show 'Involvement.' Much
of this, I believe, is due to the Presi-
dent's wife Jackie, who is a known art-
lover. The audiences at the gallery are
younger, many college people. Appar-
ently, they have been stimulated by
interest at the top. For this, I thank
the President and his wife."

The creative people have benefited
by the sudden interest in paintings,
good books, theater and other arts.
Said sculptress -artist, Maria Alex-
andra: "Creative people need en-
couragement. I think we are now
looked upon as being people who are
neither loafers nor beggars. Like many
other people, we have a job to do, and
we do it." She likes her new-found
status, and gives Jack much credit for
the change.

"I like him for being almost like a
big brother," one teen told me. "I mean
the kind of big brother with a varsity
letter and the latest dance steps going
for him. Not some square who grum-
bles all day that he wants the family
car that night."

We doubt if Jack ever had to grum-
ble all day for the family car. Espe-
cially when they knew he was going
to go out with a girl like Jackie that
night! "She's girl enough for any man,"
said a friend of theirs, "and he knows
it."

So, apparently, do millions of women
in America who share Jack with Jackie
— at least, on the hours he comes into
their living room and tells them what's
going on.

That's the miracle of television. And
that's the magnetism of the man on-
camera: The fact that women let him
come into their living room. Both
young and old alike. Both chic and
simple. From Dietrich and MacLaine
to Suzie and Sally.

Watch TRUE STORY

on your NBC-affi.liated television station on Saturdays

See your local paper for time and station. Exciting
stories of actual events and people, straight from the
files of TRUE STORY Magazine— narrated by Kathi
Norris.

And don't miss "How to Win Back a Straying
Husband" and more than 24 great prize stories,
helpful articles, and family-service features . . .

Kathi Norris

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The People Make the Show

(Continued from page 35)
but the mission is accomplished. A
neighbor writes about the plight of a
friend, who is a very short woman with
a very high, old-fashioned bathtub and
gets very big bruises when she slips
and falls climbing out of it. So she
comes on the show — and gets a sunken
bathtub.

"That's the way it goes," says Bill
Leyden. "One moment, it's a happy re-
union that makes you cry. The next,
it's a freak situation that makes you
laugh. But the show isn't come by
easily. I dare say our production staff
works harder than on any other day-
time show."

Four persons do nothing but read the
100,000 letters that come in each week.
Seven others are constantly doing re-
search and investigation. Contacts are
required in most parts of the earth. A
soldier in army camp wants to marry his
sweetheart in Sioux City, Iowa. Before
It Could Be You accepts the responsi-
bility of sending a bride to the altar,
it must be ascertained in Sioux City
that the girl wants to marry and that
her parents approve. Then there must
be a check-out in the camp to make
certain the soldier has the permission
of his commanding officer, that the wed-
ding ceremony has been set up, and

that suitable arrangements have been
made to accommodate the bride-to-be.

A sentimental reason is enough to
start the machine working. A little girl,
Vicki Ritz, moved from Pennsylvania
to California with her family. Circum-
stances were such that she had to leave
behind a doll-china cupboard which her
father had made for her. It Could Be
You found out that she was quite upset
about having to leave it behind. A tele-
phone call confirmed that the cupboard
was still in Pennsylvania, where her
uncle had been keeping it for her. An-
other phone call sent a truck to pick it
up, and it was shipped to Los Angeles.
Vicki was then brought to the show by
her mother and reunited with her be-
loved cupboard.

The difficult is done immediately.
The impossible takes a little longer, and
sometimes requires devious means. The
show has a special fund for "bribe"
money to be used in European cities
where under-the-table transactions are
customary to bring about results. The
money may go to a man who swims the
river into Warsaw, Poland — at night —
to take photographs of a child to make
sure she is truly the child of a woman
now living in America.

"It has taken us as long as four
months to get someone out of an Iron

It Could Be You provided a never-to-be-forgotten thrill for bus-driver
William Bentle/ — and a heartwarming memory for host-emcee Bill Leyden.

Curtain country," Leyden says. "We
don't deserve all the credit. We've had
the cooperation of foreign airlines, the
State Department and newspapers.
Everyone helps."

The intimate details of such opera-
tions are secret, since similar methods
may be used again to reunite families.
But the reunions themselves are as
dramatic as the methods. The person
on the "receiving" end never knows
why she or he is in the studio. The
format of the show requires the surprise
element.

Even so, the camera seldom records
all of the drama. During the video part
of the scene, a mother being reunited
with a child, after years of separation,
is usually stunned. The biggest reaction
sets in afterward — backstage.

Curiously, the show has affected Bill
as much as it has many of its partici-
pants. "Five years ago, when I went
into this, I was a different guy — a
pretty callow one. I couldn't have cared
less about what you said into the micro-
phone. All I cared about was what I
was going to say and how I looked. But,
somewhere along the line, I began to
listen. And it turned me inside out. I've
become tolerant and understanding of
the human beings on the show. They've
got a lot to say and a lot to teach. And,
oh, boy, I've got a lot to learn!"

He notes the little things. A young
couple about to be married is showered
with gifts. "But you know what excites
the bride?" Bill asks. "Not the refrig-
erator or three rooms-full of free fur-
niture, but the wedding gown — which
may be the least expensive item of the
lot. It is sentiment, something beyond
money. Or take the young farm couple:
She doesn't want a fur coat, and he
doesn't want a new car. They want an
egg-hatcher. Given the tools, they will
earn the other things themselves."

The fun bits on the show are usually
arranged. Someone wrote in about a
wife who always burned her hus-
band's toast — and Bill gave her an acet-
ylene torch. Another letter told of a
woman who had rented a big coffee-
maker for a club meeting. When it ar-
rived, she couldn't find the electric cord.
She phoned the store, complained, and
they rushed one over. The woman
served coffee — but when she got to the
bottom, she was startled. There was the
original cord, at the bottom of the pot.
She had served her guests boiled elec-
tric cord! Bill gave her a big coffee -
maker, with the cord padlocked to the
outside of the pot.

Mostly, it's the people themselves who
make the show. No two situations, no
two sets of people, are really the same.
The results are always a little different.
And that even applies to the reactions
of both Bill himself and the It Could Be
You staff.

'"Actually."' says Bill. "I have to keep
myself detached. It's not easy to do. We
have some rugged, hard-shelled stage-
hands on the show, and I've seen them
blubber over a particular story. I can't
do that. On the way home, I can reflect
on what happened. But, during the
show, I must keep myself as detached as
a surgeon during an operation.

"I know beforehand that I have only
three or four minutes to talk to a par-
ticular person. During that time, the
details of the situation must be brought
out. And, remember, they know noth-
ing of what's about to happen. Weeks
or months have been spent on that par-
ticular three minutes, and this is the
pay-off."

He cites one case as an example.
During the past year, a letter was re-
ceived telling about William Howard
Bentley. Originally from Tennessee, he
had moved his family in with his mother
and come to Los Angeles, where he got
a job as a bus driver. A diligent work-
er, he was saving all he could to reunite
his family. He figured it would take
two years to save enough.

"Mr. Bentley knew nothing about the
letter," Bill recalls. "We secretly in-
vestigated the circumstances of his fam-
ily in Tennessee. We got a biographical
sketch of the man and checked his
character, as we always do for this
part of the show. Then we arranged

through the bus company to have him
brought to the studio to participate in
what he thought was a filmed safety
promotion.

''Mr. Bentley hadn't the faintest idea
of what was about to happen — he was
backstage because he had been brought
there. He came onstage with the im-
pression that I was going to talk about
road safety, but I enticed him into play-
ing a game instead — a game that ended
up with a lot of prizes for him. We had
him back on the show five days in a
row. It was really a pretty complicated
act to set up.

"But all of the sweat — mine and that
of the production staff — is worth it
when you get to the end and say, 'Mr.
Bentley, we have brought your family
to Los Angeles, and you will all move
into an apartment with a paid-up six-
month lease, and we will give you
complete furnishings for the apart-
ment!"

Bill takes a deep breath. "Can you
still ask why I haven't been bored with
the show in five years? Can you think
of anyone else in the business who has
the satisfaction of seeing a family re-
united— or the fun of giving a sunken
bathtub to a woman who hurts where
it isn't funny? Certainly, I want to do
other things in television. But I
wouldn't be surprised if this show
lasted twenty years, and I'd be happy
to be with it for the duration."

Bobbv Rvdell

(Continued jrom page 16)
to appear three times with Perry Como
and three times on The Red Skelton
Show. Bobby has already taped a per-
formance with Jack Benny for the new
season. And, come fall, he'll make a
motion picture with Kim Novak, titled
That Hill Girl."

Success is sweet, but the real story
should be told — particularly, for those
who may think stardom is an overnight
success. Our story started in the sum-
mer of 1956. A professional musician, I
was playing with a group called The
Apple Jacks in a resort near Atlantic
City. We had a couple of hit recordings
going, and we were the stars of the
show.

Another band, Rocko and The Saints,
was the "lull" outfit, playing during our
intermission. I had never stayed to hear
them — until, one night, it rained and I
had no raincoat. Rocko, the leader, was
an adult, but the musicians were all
youngsters with tremendous talent. A
kid named Frankie Avalon played
trumpet. Sonny Troy was playing
guitar.

It was the drummer who caught my
attention. He was in his early teens,
fairhaired and skinny. He sang and did
a little comedy. At that very first mo-

ment, I was fascinated and frightened
by Bobby Rydell. I knew I was look-
ing at talent-in-the-raw, a boy with a
great natural gift for show business.

Bobby and I were both from Phila-
delphia and I asked him when his
parents would be down. He said they
were in town and, that very evening,
I sat down with his parents, Adrio and
Jenny Ridarelli. I told them I wanted
to manage Bobby. I told them what I
saw in him. They were a little skeptical.
Bobby, at the age of nine, had worked
on Paul Whiteman's TV Teen Club.
Others had come to Bobby's parents
and promised them Hollywood, re-
cording contracts and fame. But I
talked and they decided to let me have
a whack at it.

For a year, I made no attempt to sell
Bobby to anyone. I saw that he got
dance lessons and more drum lessons.
I coached him with his singing and
taught him the little things about a
performance that make the difference
between an amateur and a professional.
Sometimes, we sat down with a tape
recorder and I "interviewed" him, like
a deejay or reporter.

Meanwhile, I had given up my berth
with The Apple Jacks to make Bobby
Rydell my career. Then thirty, I had

Lucys

First Year
Without Him

After 20 hectic years, the beloved
team of Lucy and Desi ended
their marriage. Be sure to read
the true story — Lucille Ball's
story — of a woman in her middle
years, remaking her life alone.

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been happily married for nine years —
and my wife, who is one in a million,
never complained once, no matter how
difficult things got before Bobby
reached success.

The summer after I met Bobby, I
said, "Now let's go out and get a re-
cording contract." We drove to New
York for auditions and collected a fat
file of courtesy notes from recording
companies, telling us politely that
Bobby Rydell was not for them. I set up
my own recording company, cut Bob-
by's first record. It flopped and the
company went bankrupt.

A very kind person happened to us
about that time. I met Bernie Lowe,
owner of Cameo Records. He audi-
tioned Bobby and signed him. Bobby's
first three records for Cameo were
bombs. But Bernie stuck with us. He
shared my confidence in Bobby's talent
and had the patience to wait for Bob-
by's success.

Every time a new record came out,
Bobby and I made a promotion trip to
see deejays. We would go West to
Pittsburgh, Cleveland, Detroit and
Chicago. We would go South to Wash-
ington and Richmond. I owned a con-
vertible, but I won't tell you the manu-
facturer's name, because it was a lemon.
We would start out on those trips with
eighteen dollars for expenses other
than gas and oil and tolls. We lived on
hamburgers, slept in the car and safe-
guarded most of that eighteen dollars
to pay cleaning bills, so we could keep
ourselves presentable.

One day, the car broke down on a
country road outside Washington, D.C.
We didn't have the money for repairs.
I phoned deejay Stan Karas, who was
then at a station in Arlington, Virginia,
and explained our predicament. Stan
drove out, had our car fixed, and got
us to his show on time.

Of course, we never had any money
to "entertain," but we remember with
gratitude the many deejays who be-
friended us. Stan (now at WBON in
Wheaton, Maryland) took us out to
dinner many times. Clark Race (now
at KDKA in Pittsburgh) was another
who sized up our situation and took
us to a restaurant or to his home for a
feed. In a sense, we grew up with the
younger generation of deejays — even
Dick Clark, in our hometown of Phila-
delphia.

Not yet elevated to ABC-TV's
American Bandstand, Dick was then
working on a radio program and few
recording artists paid much attention
to him. But Bobby and I stopped by to
see Dick often, and we became friends
at a time when all of us were "nobody."
Dick never became bigheaded, and his
loyalty to old friends helped us later.
J But, for three years, nothing hap-
R pcned. Bobby's father, a foreman, is not
a wealthy man. He often scraped to-
gether a few dollars to help, but I got
64

up to my chin in debt. My wife con-
tinued to work at her job, which meant
we kept our home going — but all the
money I could make working dance
dates, plus all I could borrow, went into
my young tiger. Bobby got depressed,
at times, but we kept going on my
faith in him and the fact that Bobby
himself had set his heart on being a
performer, from earliest childhood.

It's odd the way you know when
success has come. His first hit, "Kissin'
Time," was on the charts, but Bobby
and I were still thinking the same way,
and I was still paying off interest on
several loans (the principal was 'way
beyond me). Then, one Saturday, we
had to be in New York for Dick Clark's
weekend show. The press representa-
tive called, said she had a number of
interviews lined up for us, and tactfully
suggested that we check into a good
hotel.

That Saturday, Bobby and I walked
into the huge lobby of the Hotel Man-
hattan and up its grand staircase. A

bellboy took us to our suite and, while
I hung up my coat, I heard Bobby
laughing like a maniac. He was stand-
ing by the door and pointing to the
room rate. I knew why he was laugh-
ing. The cost of the room for one night
was more than we used to carry for
ten days on tour! And now we could
afford it.

Since then, success has manifested
itself in the crowds that turn out
wherever Bobby appears, be it Wis-
consin or Australia. When he plays the
New York Paramount, the theater and
all its exits are crawling with fans. We
go into the theater at ten in the morn-
ing and stay until night, when the last
show is over. You can go crazy doing
nothing backstage, all that time, and so
we've had to work out a social life
within the job.

We've come up with a game that ev-
eryone likes. We put on little plays. We
have done this with Neil Sedaka, Dion,

Dwayne Eddy, Brenda Lee, Chubby
Checker and others. The kids set up
a dramatic problem. "Bobby," some-
one says, "you have just left an old
friend and you come into the room
laughing. You walk to the mirror and
you see the reflection of someone who
is out to get you."

It is a game Bobby and the others
enjoy, but it is also good training and
experience for them. Sometimes, we
even film the sequences. Bobby and I
are both camera bugs. Our pictures
are full of laughs. I personally have a
private collection of pictures of what
Bobby looks like when he wakes up in
the morning. I title these "Boy Star?"
They are my revenge for the practical
jokes Bobby plays on me.

Meanwhile, we're not rushing suc-
cess. I say this with complete sincerity.
Our goals have been recognition and
growth — not money. Certainly, it was
depressing when I was deeply in debt.
But, before that, I was a happy man
with a moderate income, and I could
be so again. Bobby has no desire for
spectacular material things. So far, he
has bought his father a new car and
his mother a new TV set.

Because we aren't clawing our way
to the top, we take the steps in-
dividually. We have contracted to be
only on TV shows that would show off
the many talents of Bobby. He acted
on The Danny Thomas Show. Red
Skelton permitted Bobby to do comedy
and even allowed him to do an imita-
tion of one of his own characters. On
the Como show, Bobby has drummed,
danced, and acted in skits.

Just ten days before I sat down to do
this story, Bobby worked in a club
for the first time. He performed for an
adult audience and it was a frightening
experience for me — I mean, frightening
to see an eighteen-year-old with so
much talent that he had an adult audi-
ence eating out of his hand. But there
is a good balance in Bobby. Off-stage
he is a normal, goodnatured teenager.
Before he goes on, he is nervous and
pacing. Once on, he instinctively takes
command of the stage.

Of course, my interest in Bobby goes
beyond professional considerations. My
wife and I have no children, so I feel
toward him as I would toward a son. In
the past five years, I have literally
"nursed" him along. But, the moment
he begins to perform, I know that I
have a tiger by the tail.

Bobby has everything: The voice, the
magic touch of comedy, intuitive acting
talent, good looks. In five or six years
— and we're not rushing it — I believe
he will be one of the major talents in
the country. When I first met Bobby,
the talent was raw. Had I not met
Bobby, it would have taken him longer
— but he would still have made it, and
made it big. He was born to be a tiger,
and nothing could stop him.

Stargazer

(Continued from page 48)
eyes are brown, her mouth generous.
Her manner, too, is in the Bergman-
Kelly tradition. When Janet smiles, her
face lights up with that inner glow —
but behind that animation is a poised
reserve. Like them, she is in full com-
mand of herself, with the assurance of
one who has mastered the techniques of
her craft.

But unlike them, Janet, a year ago.
found so little call for her talents that
she was ready to abandon acting and
become a secretary. Only the inter-
vention of her own lucky star, in the
person of James Whitmore, saved her
acting career.

Janet's search for stars and stardom
began in Upper Darby, Pennsylvania.
As her mother, Lillian DeGore, tells it.
"When she was so tiny I could still
carry her in my arms, we would go
out in the back yard on summer eve-
nings and look up into the sky. Like all
mothers, I'd sing 'Twinkle, twinkle,
little star' to her. I honestly believe that
started it. By the time she was five,
she could locate the constellations. At
seven, she was making up stories about
the stars and trying to write them."

Janet's first brush with juvenile star-
dom came during those same years. Her
mother recalls, "Miss Elsie MacDonald,
a sister of singer Jeanette MacDonald.
taught dancing. I entered Janet, at
five, simply hoping she would acquire
grace and poise. Soon I noticed that,
whenever Miss MacDonald lectured
at a women's club, she chose Janet — out
of all her 500 pupils — to dance there.
I began to wonder if this child really
had something."

Drama classes, begun when Janet
was seven, strengthened the belief, and
the applause of theater audiences con-
firmed it. Mrs. DeGore says, "That was
the day of Shirley Temple look-alike
contests. Janet had long golden curls
and we entered her in a few, just for
fun. She won every time."

Philadelphia then had a children's
radio show which was a show-business
kindergarten for a number of famed
personalities, and Janet became a
regular performer on that, too.

The summer that Janet was eleven,
her parents separated. Mother and
daughter came to New York. Says Mrs.
DeGore, "I had always been interested
in the theater. We wanted to see what
we could do." Janet remembers the
venture as "the most difficult thing we
ever attempted — we were just a couple
of little country girls alone in the big
city."

They were, however, a pair of
beauties who could make any producer
look twice. Today, Lillian DeGore
stands but five-one to Janet's five-
three (though they can still wear each
other's clothes). Then, the blonde child

with the tiny blonde mother gave the
impression of a Dresden figurine re-
peated in miniature.

Nila Mack, who had Let's Pretend
on CBS Radio, was the first to cast
Janet. Roles on CBS daytime shows
followed. In TV, Janet was a natural.

Lillian became a receptionist at the
Theater Guild office, later held jobs on
television production staffs. They set-
tled down in a charming little Green-
wich Village apartment. Janet spent
her first year in Professional Children's
School, then transferred to Morningside
Tutoring School, taking every science
and mathematics course she could get.
Their New York careers were in
progress.

At thirteen, Janet toured for eight
months with Tallulah Bankhead in
"Foolish Notion." Lillian recalls, "Be-
cause I could not leave my own job, I
hired a woman to accompany her. But,
after the first reports, I never worried.
Miss Bankhead is the last person in the
world one might expect to 'mother' a
child on the road, but she certainly
looked after Janet. She saw to it that
she ate properly, got enough sleep, and
kept up with her studies."

Janet says, "I could write a book
about that tour, and I did write a story
which a national magazine published.
Miss Bankhead has deep kindness and
a great ability to teach. I learned,
usually without even realizing I was
learning."

Those were bright days for both
Janet and Lillian. Live television was
booming in New York. While Lillian
advanced on production staffs, Janet
piled up credits on TV, Broadway,
summer stock and the road. Among
them were Kraft Theater, Schlitz Play-
house, "Member of the Wedding," "Cat
on a Hot Tin Roof," "Time of the
Cuckoo," "By the Beautiful Sea."

There were quiet, domestic accom-
plishments, too. Lillian taught Janet to
cook, to sew, to decorate a home at-
tractively. Janet values this and says,
"T think young people miss something
when they don't bother to learn the
fundamental things of living."

Janet took her high-school diploma
from Morningside but decided against
college. Instead, she took courses in
astronomy at Hayden Planetarium. Her
first report still evokes a chuckle from
Lillian. "Mother," she said, "They all
stare at me."

"Who are 'they'?" Lillian asked.

Janet pondered. "Those older men.
I'm the only girl in the class. But is it
so funny for a girl to have her own
telescope and want to know about outer
space?"

Then, abruptly, that phase of their
lives was over. Filmed and taped shows
began replacing live TV programs.
(Continued on next page)

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Shows moved from New York to Holly-
wood. Lillian, then on Ernie Kovacs'
staff, chose not to go. Janet herself felt
she was strictly a "live" actress, either
on stage or TV, and New York was her
place — "but soon I was live and tele-
vision wasn't. Most of my friends were
out of work. Luckily, I did many com-
mercials, giving me a good income."

Lillian adjusted to the changed situ-
ation by studying beauty culture. Janet,
equally realistic, prepared to enter
business school. "I am a touch typist,
and would only have needed to learn
shorthand. I felt that I would rather be
out of show business altogether than
only half in it."

A telephone call from James Whit-
more, on December 23, 1959, effected
another swift change. While Janet, in
New York, was puzzling over her fu-
ture, Whitmore, in Hollywood, was
having his own problems turning a
dream into reality. With the producer,
Sy Gomberg, he was at work on The
Law And Mr. Jones.

Preparing to film at Four Star Pro-
ductions, they knew what they wanted.
According to Gomberg, it was to be
"'not a whodunit, but a drama based
on an actual point of law." Whitmore
explained, "We want it to be so chal-
lenging that, when it's over, viewers

will turn off the set and argue about it."

To find the right secretary for Whit-
more's Abraham Lincoln Jones, they
auditioned some 500 actresses. Whit-
more kept saying, "No, no, no. Not quite
the right quality. Now, there's a young
actress I remember ... it must be at
least five years ago that I worked with
her . . ." He couldn't remember her
name, and it was only with difficulty
that he remembered the show. By some
involved show-business detecting, they
located the film in a storage warehouse.

When they checked the credits, they
had a name — and nothing else. Desper-
ate, Gomberg asked a visiting New
Yorker, "Did you ever hear of an ac-
tress named Janet DeGore?"

"Sure," said the actor. "I cut a com-
mercial with her yesterday."

Summoned to Hollywood, Janet did
what she describes as "the worst screen
test ever. The crew was running into
overtime and we rushed through with
one take." Whitmore shared her
opinion. To Dick Powell, who viewed
the test with him, he said apologetically,
"You've just seen Janet at her worst,
though Janet at her worst is pretty
darned good." Powell replied, "I think
you've found yourself a leading lady."

Janet, who thought she never would
like working in films, finds she is hap-

pier in this show than any other she
has ever played. She also likes living
in Hollywood. "I was so skeptical, at
the start, that I didn't want to invest
too much in furniture. I didn't know
how long I would stay. I did my apart-
ment in what I call 'early Salvation
Army.'

"Mother came out and helped me fix
it up. We sawed the legs off dressers,
painted things, made slip covers and
curtains. It came out quite attractive.
I feel so at home that, after my last
visit to New York, I brought my tele-
scope back and set it up on the terrace."

The Whitmores and the Gombergs
helped her make new friends. "They
both invite me to their homes. I spend
a lot of time with them and their
children."

Romantically, Janet is "interested,"
but not serious. "I certainly have a
variety of beaus: Two surgeons, an ad-
vertising man, a publicity man, two
writers, an importer, a television di-
rector." There are no actors. "I like
actors, but perhaps it's a matter of two
egos in conflict."

What's next for Janet? "A motion
picture, I hope. With my love of stars,
I suppose I have always wanted to see
one on the door of my own dressing
room!"

(Continued from page 33)
names added." It will be quite a cor-
poration, Adams & Company — Nick,
Carol, daughter Allison and the new
baby son named for Confederate hero
Jeb Stuart.

Nick's pride in his family not only
shines out of his eyes but it's the sub-
ject most often on his tongue. "Carol is
my good-luck charm," he says with
quiet sincerity. "My first real success,
the turn of the tide, came right after
I fell in love with her. Then I formed
my own production company, we sold
the Rebel series, and I had someone to
share all my hopes and plans for the
future. As I look back on it, all my
ideas, energy and confidence seem to
stem out of one thing — a deep sense of
happiness in my wife and little family."
Shortly after The Rebel premiered
on ABC -TV, Nick was slated for a
cross-country promotional tour. He
wanted Carol — then expecting their
first child — to accompany him. A net-
work official made the point that, while
Nick's marital status should certainly
not be denied, there was no sense in
overemphasizing it by way of a preg-
nant wife. "Brother," said Nick, the
haii' on the back of his neck rising, "if
T the public doesn't want me as a mar-
„ ried actor, they won't want me as a
single one, either. If I have any real

fans, they'll be happy to see I'm so
66

Adams & Company

happy." And Nick proved to be right.

Petite Carol takes a view that is
both frank and lively: "Oh, let's not
overdo the sweetness and light —
naturally, Nick and I had our problems
at the start. We had our differences,
and even quarrels. We're a normal
American couple with different ideas
and no hesitation about talking up. We
had a lot to learn and quite a few ad-
justments to make. The important
thing, I feel, is not that love and mar-
riage be all smooth sailing. That's
strictly makebelieve and not for flesh-
and-blood people. The big thing is to
learn how to live together and like it,
and, most of all, how to live for each
other."

One of the hardest problems was how
to sandwich romance and wedded bliss
in between Nick's obligations to the
show, his fans, publicity interviews,
personal appearance tours, and so on.
He had to spend long hours at the
studio planning and launching each
segment of the series. There were late
conferences, early morning calls, week-
end rehearsals. Like any bride, Carol
began to resent this unending intrusion
into her brand-new marriage. "I knew
Nick had to do this — that, in fact, he
was doing this for me and for our
future — but, oh, those long hours
alone!"

The only one ray of sunlight in the

gloom was getting Stella, their "won-
derful household helper," after Allison
was a few months old. It helped to re-
lieve the strain on Carol. "Now I can
drive out to the studio occasionally,
when Nick has to work late and I feel
very lonesome," she says — and hastens
to add, "This doesn't mean I make a
pest of myself ... or that Nick drops
everything to lavish his attentions on
me. I don't expect that. Still, when the
company works late, dinner is brought
in. It's nice then, to eat and chat with
members of the troupe or with some of
the wives (like me) visiting the studio
for company."

Nick's growing responsibilities might
sometimes make him appear aloof, pre-
occupied, or even snappish. This is
definitely not in character. Ordinarily,
he is the most kindly and considerate
of men. It took Carol a while to recog-
nize that Nick, the lover, husband and
friend, was not the harassed and ab-
sent-minded executive, burdened with
a hundred details of production, acting
and promotion.

"There was a time," she smiles,
"when the waterworks would flow for
the slightest reason. Once, I remember
telling Nick we needed another garbage
pail. He just went on reading his script.
When I'd repeated it three times and
he still hadn't answered, I ran into
the bedroom and cried. I was so sorry

for myself, married to a man who cared
so little about his home that he wouldn't
give a thought to our needing a garbage
pail!

"Silly, isn't it? I felt even sillier
when, later in the evening, he suddenly
put his arms around me and said, 'I
was wound up in that script and I
didn't hear what you said— something
about a new dress, wasn't it? Well,
sure, you go right ahead and buy the
prettiest dress you can find . . .'"

Carol has learned to handle the af-
fairs of the household without troubling
Nick— "Heavens, he's got both hands
full with more important matters." Not
long ago, the hot-water heater steamed
over, spattered the wallpaper, and
leaked out on the rug. Carol promptly
went into action, calling the insurance
company, the plumber and the paper-
hanger. When Nick got home, all re-
pairs had been made and the claim put
in for settlement.

Says Carol, "When a man works so
hard for his money, it's a wife's solemn
duty to be careful with it. She must
prove her right to be trusted with
money and solving home problems. A
wife should feel proud to know her
husband has confidence in her running
of the household."

This is not to imply that large
amounts of spending go on without
Nick being aware of it. Quite the con-
trary. He enjoys the fireside confer-
ences at which they plan their furnish-
ings, decorations and selection of
sundry purchases for the home. Their
biggest "item" so far has been their
charming three-bedroom house in Van
Nuys, in the San Fernando Valley. "Al-
though the place is foi-ty-five minutes
from the studio, I knew there was one
feature that would sell itself to Nick,
the moment he saw it," Carol recalls.
"That piece de resistance is a private
steam room just off the master bath-
room."

"That's true," grins Nick. "I went out
to see the place very reluctantly. I had
no yen to live so far out. But when
I walked into that steam room, I said to
the agent, 'Where do 1 sign?' You know,
I used to go to the gym two or three
nights a week, mainly to relax in the
steam room after a workout. Now I can
get all steamed up right in my own
home. It's great for taking the tension
out of tired bones and nerves."

There is a large stable in back, room
for three horses. But, unfortunately,
a re-zoning ordinance prevents the
keeping of horses in their neighbor-
hood. "The stable won't go to waste,
though" — Nick darts a mischievous
glance at his wife — "because that's
where our five kids will eventually be
housed . . . after we re-do it, of course."

"Five kids?" Carol echoes.

"Sure . . . can you think of a better
way of living than raising five kids?"

That Nick and Carol are devoted

parents may be seen from the jottings
in Allison's baby book. "I laughed at
five weeks and four days," reads one
page, "got my first tooth at five months,
my first steps were to Grandpa Nugent
at eight months." And under the nota-
tion of "the foremost entertainers of
my generation" are listed "Nick Adams,
Elvis Presley, Frank Sinatra and
Marlon Brando." Carol, who filled in
the page, is now busily adding similar
items to the brand-new book for baby
Jeb.

There are certainly no qualms on
Carol's part that her name will never
be listed in either book in any capacity
other than "mother." When she and
Nick were married, she was a starlet,
with numerous TV and movie credits
to her name. However, having been in
the profession since she was a child,
and with a father in the behind-the-
scenes end of the business, Carol was
never impressed with the thought of
perhaps one day becoming a star.

Like Nick, she came from a devoted,
close-knit family and her real ambi-
tion was to someday give her own chil-
dren the same happy security she'd en-
joyed as a youngster. "Nick is very
like my father in one respect," she ex-
plains. "He makes his wife feel that
being a wife and mother is the most
important career in the world."

Nick has never really discouraged
Carol from "keeping her hand in." But,
by her own decision, her future brushes
with acting will be "few and far be-
tween— probably just an occasional TV
job."

The Adamses occasionally go on the
town for fun, but they prefer their
own circle of friends — which includes
the Mervyn LeRoys, the Danny Thom-
ases, Mike and Dodie Landon, Andy
and Mary Frances Fenady. LeRoy gave
Nick his first big movie part in "No
Time for Sergeants" and Fenady is a
partner with Nick in Fen-Ker-Ada
Productions. All are parents and deep-
ly involved in family matters.

"They say Hollywood's the toughest
place in the world to stay married,"
Nick observes, "and this is true — if you
lose your head easily. For those who
like to sink roots and grow together,
the chances of living a genuine family
life are as good here in Hollywood as
in Trenton, New Jersey; Dubuque,
Iowa; or Austin, Texas."

A significant sample of what Nick
means may be seen in the corporation
papers of his movie production com-
pany, Hondo. A space was left for
entering the name of little Jeb Stuart
Adams, who now joins big sister Alli-
son and mother Carol as an officer of
the Board. Hollywood may be tough
on marriages, but Carol and Nick
Adams have thrown down a challenge
to this legend and are set to prove it
doesn't have to be so. . . .

Who Is
Liz .
Taylor?

Elizabeth Taylor is not yet 30,
but she has already lived a dozen
lives. What events, thoughts,
emotions make the world's most
beautiful sought-after actress an
enigma, a tragedy, a legend in
her own time?

For the Answers,
You Must Read

£=

ELiZHETH
TAYLOR

Complete Life Story
Never Before Published

16 Full Pages of
Candid Pictures

By Alan Levy

Author of

"Operation Elvis"

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A Hillman Book

(Continued from page 9)
a byword throughout the world during
the eight years of the Eisenhower ad-
ministration in Washington, when he
served as Presidential press secretary
and frequently was cast into the role
of official spokesman for the Govern-
ment. When Mr. Eisenhower left Wash-
ington in January, Hagerty was be-
sieged with attractive job offers. After
careful consideration, he accepted an
appointment as the American Broad-
casting Company's vice-president in
charge of news, special events and pub-
lic affairs.

Hagerty moved fast in expanding
ABC News programing. Early in
March, a five-minute Monday through
Friday TV newscast was added at 1: 25
P.M. EST, with plans calling for others,
both morning and afternoon. In April,
a new quarter-hour 11 P.M. telecast,
with a brand-new approach to news-
casting, was added in New York and
Washington. Current plans are to ex-
periment with this show's format be-
fore airing it full-network in the fall.
Next, Hagerty turned his attention to
the weekends, with plans for a half-
dozen five-minute TV newscasts on
Saturday and Sunday, as well as a good
half-hour on Sunday nights.

"I took this job," Jim Hagerty ex-
plains, "because I believe television is
entering into the really exciting period
of its growth. In my field — which is
news — television has yet to tap the
surface of its potential. I want to be
on the scene when that happens, and
to help, in my way, to make it happen.
"This is an age of scientific explora-
tion, not only of space, but here on
earth in the fields of medicine, agri-
culture, water development, construc-
tion, communications. During my eight
years in Washington, I tried to keep
in close touch with our scientists. From
the very start, they have been working
not only just on the military use of
rockets and missiles, but also on peace-
ful benefits of space for all humanity.
"Foremost among these has been the
field of worldwide communications.
Today, the planning stage is over.
Actual experimentation is beginning.
In the not-too-distant future, a net-
work of communications satellites will
be in operation around the world. The
scientists say in five to ten years. I
believe it will be nearer five than ten.
And when this happens, we'll have
instantaneous worldwide live televi-
sion. We'll be able to televise news
around the world as it happens.

"A few skeptics have said that the
public isn't interested in expanded
news coverage. I disagree violently.
People everywhere have two basic
interests — the economic condition of
their pocketbook, and whether the
world is moving toward war or toward

Fast-Moving Newsman

peace. They want to know as much
as they can about both these subjects.
They want the news. Furthermore, I
believe that the public is a great deal
more intelligent than it sometimes is
given credit for being."

Television's role, as Hagerty envi-
sions it, will demand vast changes in
techniques and formats. "It will take a
lot of work, a lot of manpower and a
lot of money. Television will need to
acquire an expanded worldwide staff
of trained reporters — more than any
network has now — using the tools of
their medium as newspaper reporters
now do in their craft. Instead of the
reporter's pencil, the TV reporter must
use the camera.

"This won't happen overnight. But
there is time, and that's why we at
ABC are starting now. That's why I'm
here. I welcome the excitement of the
challenge."

Hagerty is critical of the job that
has been done by radio and television
networks in news presentation, and
he doesn't spare ABC from his barbs.
Not that he doesn't believe radio and
television do a good job — he thinks
they do — but he insists they can do
better.

Shortly after he joined the executive
row at ABC, he dropped a verbal bomb
on the "well-modulated voices" who
recite the network news. Hagerty be-
lieves too much emphasis has been
placed on "well-modulated voices and
nice looking faces," by all concerned.
"These voices and these faces all too
often are merely relaying the reports
gathered by the trained reporters of

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their own networks or the wire service.

"They seldom, if ever, leave the radio
or television studio to cover the news.
Most of the time, they read someone
else's work. They have little, if any,
association with the story they are re-
porting. They themselves know it, the
people involved in the stories reported
know it, and, I suspect, the American
people are beginning to know it.

"I am going to work for by-lined
reporting with our ABC news staff,
just as we have by-lined stories in the
newspapers. The newspaper byline, in
effect, guarantees to the reader that the
man was there and actually covered the
story. That he saw it happen. That he
could consequently give the reader a
personal report.

"Radio and television should do
more of the same thing. Trained re-
porters, using the tools of their media
— the microphone and the camera —
should bring us more news from a
personal-participation point of view.
This is what I'm going to try to do at
ABC.

"At first, I'm going to concentrate on
Washington and the United Nations,
the two big news centers of the world.
I'm going to try and get away as much
as possible from the studio-bound
voices and develop a staff of reporters
who will cover the news as it happens,
and then relay it to the public.

"To be specific about it, I want to
have the ABC reporter covering the
White House report on the activities
of President Kennedy, the ABC diplo-
matic reporter talk about the news
from the State Department, the ABC
men covering the Capitol report on
the hearings and activities of the
Senate and House. These reporters
should be the image ABC reveals out
of Washington, not just a single in-
dividual who can commentate nicely on
the news, but who can't possibly cover
it."

Principally because of its ability for
immediate global coverage, Hagerty
believes that radio has been doing a
better worldwide job than television
in respect to news coverage. "News-
papermen don't like to admit it, but
more people get their news from radio
than from any other media.

"With its international news round-
ups, radio is able to say, 'This is what
is happening here today.' With the new
advancements in scientific communica-
tions, television will soon be able to do
the same thing."

Hagerty believes that the television
camera should have the right to cover
news wherever it happens, here at
home or overseas. "Right now," he
says, "TV cameras are barred from
many events that are open to reporters.
For example, in Congress, television is
permitted to cover Senate hearings but

not those of the House of Representa-
tives.

"The camera must be recognized as
the same kind of equipment as a news-
paper reporter's pencil. Where the
pencil is allowed to go, the TV camera
should also be allowed to go."

Hagerty — a former reporter for the
New York Times, and Governor
Thomas E. Dewey's press secretary be-
fore joining the Eisenhower staff — says
he has no plans to write a book about
his career in Washington. "I won't say
I'll never write one," he grins, "be-
cause never is a long time. However, I
will say that I don't expect to.

"As of now, my life is dedicated to
working with ABC, in this new concept
of news development, and to my wife,
Marjorie, and our sons, Roger and
Bruce." (Roger, 29, and Bruce, 24, are
both serving in the U.S. Marine Corps.)

Although he has little time for hob-
bies, Hagerty enjoys an occasional game
of golf, and was a frequent golfing

companion of Mr. Eisenhower. In fact,
during his years in Washington, Hag-
erty had a close personal relationship
with the President. At Cabinet and
White House staff meetings, President
Eisenhower, having listened to argu-
ments on both sides of an issue, often
said, "Let's hear what Jim thinks."

The prestige of Hagerty 's past per-
formance is expected to be a major
instrument in ABC's efforts to expand
its news coverage and public affairs
broadcasting as it has done, in recent
years, in entertainment programing
and sports.

As an indication of his enthusiasm,
on his first day on the job, Hagerty
checked into his ABC office at seven-
thirty in the morning. "No one else
showed up until nine," he recalls. "I
couldn't even send out for a cup of
coffee."

There have been some changes made.

He's now able to get coffee — and re-
sults— at any hour.

Frank Gifford

(Continued from page 28)
influencing factors," he adds. "A big
one was my family. My wife Maxine
and I have three children. I was away
from home so much that, at times, I
barely knew them. A pro football
player is away about four months of
the year, counting the road trips and
summer training camp. This means,
during my nine years with the Giants,
I was away from home a total of three
years.

"Fortunately . . . and I really feel
fortunate about it ... I don't have the
pressure of financial worry. We've al-
ways tried to live like we weren't in
a carnival. That's a mistake many guys
make. With good advice, I've made
some wise investments. And, of course,
I had something wonderful to step
into— this job with CBS!

"I'm sure that this summer, when
the Giants start training, I'm going to
have the old itch to get into uniform.
But I expect I'll be so busy with tele-
vision and radio work that the itch
won't bother me too much."

Last November, in a game with the
Philadelphia Eagles at Yankee Sta-
dium, Gifford suffered a severe head
injury when he was tackled from the
"blind" side by the Eagles' Chuck Bed-
narik. The injury caused him to miss
the last four games of the season.
"Chuck was entirely within his rights,"
says Gifford. "If I had my back to him,
he couldn't very well ask me to turn
around before he clobbered me.

"I'm glad you brought up that inci-
dent. Some people believe that I de-
cided to retire because of it. That's not
the case, at all. I've been given a clean
bill of health by the doctors. Physically,

I know I'm capable of playing foot-
ball for several more seasons. But what
then? I'd have to quit sometime. I de-
cided to do it now, when I have this
fine opportunity with CBS."

Gifford's first assignment was a
nightly sports commentary on CBS
Radio's New York station, WCBS.
From this, he is branching out with
varied sports broadcasts on both the
radio and television networks. And this
black-haired, blue-eyed athlete, whose
200 pounds are well-proportioned on a
six-foot-one frame, could easily be-
come a heart-throb idol of the teen-
age set if he isn't careful.

His good looks have already meant
money in the bank. He's been in de-
mand as a model for magazine adver-
tisements, posing in sweaters, bathing
trunks, and other sports apparel, and
is also seen on several commercials. "I
expect to continue with these activi-
ties," he says, "but everything else will
be secondary to my job at CBS. By
the way, don't forget to mention my
acting."

Acting? Certainly. And it all started
from that guest shot on What's My
Line? "20th Century-Fox wanted to
take an option on my services and send
me to acting school. If, at the end of a
year, I looked like I was going to be-
come another John Wayne, they would
put me in a few movies.

"This didn't appeal to me, so I signed
with Warner Bros, and was under
contract to them for two years. I had
bit roles in three pictures — 'Onion-
head,' 'Darby's Rangers,' and 'Up
Periscope' — but you would have had to
look close to have seen me. I also ap-
peared in a pilot TV film called Public

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Enemy, playing an undercover detec-
tive. The pilot wasn't sold, and I un-
derstand Warner's later chopped it all
up and used it for one of the Bourbon
Street episodes.

"In the fall of '58, Warner's told me
it would have to be either movies or
football — I couldn't do both. Remem-
ber, up to this time, I'd been in Holly-
wood only when I wasn't playing with
the Giants. Well, I didn't feel ready for
acting then, so I rejoined the Giants
and that ended my Warner Bros, con-
tract.

"Last year, though, I starred in an-
other TV pilot called Turnpike. It was
a story of the New Jersey state police
and I played another undercover
agent. I guess maybe I'm not cut out
for detective work, because nothing
happened to that pilot, either."

But Gifford still had the acting bug.
"I wanted to act, but I realized there
were many roles I couldn't handle. I
decided to do something about it."
What he did was to enroll in a drama
school in New York, which he at-
tended three nights a week during the
football season — at his own expense.
"It was a worthwhile investment. Not
only did I meet and get to know an
entirely different type of people, but I
learned something about acting. The
classes were rough. And that training
is of great help to me now in my radio
and television work.

"Coaches have been an important
oart of my life," he notes. "The various
football coaches I've played under, of
course, and my two drama coaches —
Wynn Handman in New York and Jeff
Corey in Hollywood."

He has no feeling of disappointment
about being assigned to radio first.
"There were three times as many
radios sold last year as there were TV
sets," he points out. "Don't let anyone
tell you that people aren't listening to
radio. I know they are. I get reaction
from all over the country from what I
say on radio. Of course, I enjoy appear-
ing on television. I've done a lot of it.
But, at the same time, I have a healthy
respect for radio."

Gifford's ultimate ambition is to
develop into a versatile radio-TV per-
sonality, not limited to sports broad-
casting. "Of course, this is for sometime
;n the future. Right now, I'm doing
sports commentary and interviews.
Eventually, I'd like to do play-by-play
announcing — of baseball, as well as
football.

"I believe it's much easier for a for-
mer player to comment on a game than
it is for someone who never played —
not that there aren't some excellent
announcers who were never profes-
sional athletes! Some day, though, I'd
like to think that I could handle any-
R thing in broadcasting. Perhaps emcee
a quiz show, and things like that. But

I have no desire to appear in a Western.

I'd look silly in a cowboy hat."

Nor does Gifford have any inten-
tions of testing his singing talents on
records, although he has been asked to
do just that. "I guess all you need," he
grins, "is a guitar, an open shirt and
a pair of tight pants. But that's not for
me. The only singing I've ever done,
outside of in the shower, was in high-
school operettas. Can you imagine? I
was a tenor — if you could call it that."
However, he is interested in another
somewhat surprising form of expres-
sion for a football player: Writing. "I've
never had any real training for it, but
I've been knocking out a few pieces
from time to time." These have in-
cluded a weekly football column for
The New York Journal-American last

She's Our Cover Girl!

Song queen Connie Francis leads off
a parade of picture-packed features
which includes — among many others! —
no less than 22 new singin' swingin'
boys and gals of 1961 ... in the gala

August issue of TV RADIO MIRROR
on sale July 6

fall, and a twice-weekly column for
his hometown newspaper in Bakers-
field, California.

"The Bakersfield paper no longer
exists," he says, with a laugh. "Guess
maybe I helped to put it out of busi-
ness. Seriously, though, I wrote most
of those newspaper columns myself. I
didn't have a ghost writer, although I
did have some help occasionally. What
I'd like to do some day is write a book,
but I'm not ready for it yet."

Gifford's actual broadcasting career
began in 1957 on a television station
in Bakersfield. "I had a local sports
show there, for two years, during the
off-season (in football). And then, in
1958 and '59, I filled in for Phil Rizzuto
on his CBS Radio sports programs
when I was in New York. Last fall, I
had weekly shows on both the CBS
radio and TV stations in New York."

Frank Gifford was born in Santa
Monica, California, on August 16, 1930.

His father, Weldon, was — and still is —
a drilling superintendent in the oil
fields. "When I was a kid," Frank re-
calls, "we were always on the move.
We went anywhere there was oil."

As far back as he remembers, Gifford
had one purpose in life — to become a
football player. "When I was six or
seven years old, I became interested in
the high-school team at Avenal, Cali-
fornia, a little town where we were
living at the time. That was it, for me.
Football was my life from then on."

Dame Fortune has been in his corner
from the start. He was named to the
all-state team while playing at Bak-
ersfield High School, and he made the
Junior College Ail-American team at
Bakersfield Junior College. This was
followed by All-American recognition
at the University of Southern Cali-
fornia.

Although he has retired from the
Giants, his records remain. During his
nine years with the New York team,
he was a member of the Ail-Star pro-
fessional squad six years, was named
the National Football League's most
valuable player in 1956, and played in
the "pro" bowl game seven straight
seasons, between 1953 and 1959. Upon
his retirement, he held seven individual
playing records with the Giants.

Gifford first saw the girl who was
to become his wife when he attended
the 1949 Rose Bowl game and she
toured the stadium on a float as the
Homecoming Queen. "I tell her I
picked her out then," he grins, "al-
though we didn't start dating until the
fall of 1950."

Frank and Maxine were married in
June of 1951, and they now live in New
Rochelle, New York, with their three
children: Jeffery (named after Jeff
Cravath, one of Gifford's coaches at
U.S.C.), nine; Kyle (named after his
close friend and Giant teammate,
Kyle Rote), six; and Vicki, four.

Now that his playing days are over.
Gifford anticipates some difficulty in
keeping in shape. "I plan to play as
much golf as possible" — he shoots in
the low 80's — "and, of course, I'll con-
tinue with my calisthenics."

When Gifford rolls out of bed, he
does an average of seventy-five push-
ups and fifty sit-ups on the bedroom
floor. "It's a heck of a way to start the
day," he admits, "but it's easy for an
athlete to develop a pouch when he
retires, and I don't want that to happen
to me."

One concern that no longer faces
Gifford is that of colliding on a grid-
iron with a 250-pound-plus opponent.
"One isn't so bad," he says, "but when
three or four of them fall on you — well,
you know you've been hit. Actually,
after the first one, nothing hurts. If an
additional 500 or 750 pounds comes
down on you, you hardly notice the
difference!"

Brook Benton

(Continued from page 41)
Brook, "a fellow came up with a con-
tract for me to star in a television se-
ries about a Negro private detective.
At first, it sounded good. I was rather
flattered. And the money was interest-
ing, too.

"But then I discovered that the role
called for straight acting, with no sing-
ing at all. I told the man, 'I'm not an
actor, I'm a singer.' He said, 'It doesn't
make any difference. You'll be good
enough.' Well, after talking with my
manager, Dave Dreyer, I turned it
down. I don't want to be 'good enough.'
I'm accepted by the public as a profes-
sional singer. I don't want to inflict my-
self on them as an amateur actor.

"I'm extremely grateful for my suc-
cess," Benton explains. "I've worked
hard, but a lot of singers have worked
just as hard and not been as fortunate
as I have. I'm not going to try to capi-
talize on this success just for the sake
of a few dollars."

What about Broadway, the "dream
street" for practically everyone in the
entertainment field? "Who wouldn't
want Broadway?" Benton grins. "I'm
not darn-fool enough to say I wouldn't
be excited about a chance to appear on
Broadway. But, again, I would have to
feel ready for it.

"Perhaps, at some time in the future,
I'll be able to take a few acting lessons.
But I would be foolish, right now, if I
took time away from my singing to try
something I'm not sure I can do. Oh, I
know a little something about acting, of
course. Stage presence, and that sort of
thing. But I certainly don't classify my-
self as an actor. Perhaps someday, but
not now."

Those who have followed Benton's
career have seen him gradually pro-
gress from a straight singer into a
singer-entertainer. This has been a
carefully calculated project of Benton
and his manager. "I don't want to be
just another fellow with a good voice
who stands up and sings," says Benton.
"These are the fellows who have suc-
cess for a while and then bounce back
to their old job of driving a truck or
serving hamburgers.

"I'm determined not to be a flash-in-
the-pan. And so, in addition to singing,
I try to entertain. I've been learning to
talk to the audience, to establish a
friendly rapport. I'm not trying to pass
| myself off as a comedian. But, when
the audience is in the right mood, I do
joke around a little. And it's paid off.

"Part of my routine is doing imper-
sonations of people like Louis Arm-
strong, Frank Sinatra, Sam Cooke, Fats
Domino and Roy Hamilton. When I
first tried this, the audience went for it
in a big way. I believe they were sur-
prised to discover that I do something
besides sing my hit songs.

"But it does have its hazards. One
night, when I was doing my imper-
sonations at the Apollo Theater here in
New York, the audience suddenly
started roaring in the middle of my
routine. I couldn't understand it. It
bothered me because it was the wrong
time for them to be laughing. And then
I looked around. Roy Hamilton and
Sam Cooke — two of the singers I'd im-
personated— had come out from the
wings and were standing there on the
stage behind me! I broke up, and it
took me nearly ten minutes to recover."

Benton freely admits that a large
share of the credit for his success be-
longs to manager Dave Dreyer. A vet-
eran song writer and music publisher,
Dreyer knows his way around the en-
tertainment business. He's had a share
of personal success himself, as com-
poser of such old-time favorites as "Me
and My Shadow," "Back in Your Own
Backyard," and "Cecilia."

Benton has found success the hard
way — with no screaming, swivel hips,
echo chambers, or tricky sounds. Just
talent. "But don't ask me to knock rock
'n' roll," he warns. "Some of my young-
er fans believe that several of my
rhythm tunes are of the rock variety. I
try to please audiences of all tastes. I
prefer ballads and spirituals — but if I
keep the rock 'n' roll fans happy, too,
that's fine. Real fine.

"I classify myself as a singer. Not a
rock 'n' roll singer, or a ballad singer,
or a rhythm singer. Just a singer. This
is very helpful when I'm appearing be-
fore the public. No two audiences are
alike. Sometimes, in a theater or night
club, I'll perform before three different
types of audiences the same night. If I
weren't versatile with my material, if I
couldn't change my routine on the spur
of the moment, I'd be a big bomb. The
same thing goes for my records. They
include a little of everything.

"I believe very strongly in versatil-
ity. None of us knows all our capabili-
ties. My biggest problem is getting to
know myself — self-doubt can be cruel.
I try to be a good singer of all types.
And that's why I won't say there's no
possibility of eventually becoming an
actor of sorts. But my principal career
will always be that of a singer."

Benton has come a long way indeed,
since he was born twenty-nine years
ago in Camden, South Carolina, one of
seven children of Willie and Mattie
Peay. His father, a bricklayer, was the
choir director of the Ephesus A.M.E.
Church and it was there that Brook —
who was christened Benjamin Peay —
learned to love music and first exer-
cised his vocal talents in public.

"I've been singing spirituals ever
since I can remember," he recalls. "My
mother and father both love to sing.
We were a singing family. And when I

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was ten, I first began putting words to-
gether for songs. It came natural to
me."

Life wasn't easy for the Peay family.
"We were better off than some," says
Benton, "but every day was a struggle.
I helped out, beginning when I was
twelve, by delivering milk for Camden
dairies. We all worked."

Even in those days, Brook's single
ambition was to become a singer. "I
knew that New York City was the only
place I could realize my ambitions, so I
came here when I was seventeen. I
don't know what I expected, but I
didn't find it. Not at first.

"I did about everything to earn a liv-
ing. I worked in the garment district,
washed dishes and . . . heck, those days
are over. I don't like to talk about
them. I'm not the only fellow who came
to New York with stars in his eyes and
had rough going."

However, he had plenty of determi-
nation and kept working towards his
career. "I used to write songs by the
bushel. I wrote close to three hundred
of them before I had any smattering of
success. How could I tell which of the
songs were good? Simple. If it was
good, I'd find the next word. If I got
stuck, the song wasn't any good and I'd

drop it and start another."

During the early stages of his song-
writing efforts, Benton joined a group
known as Bill Landford's Spiritual
Singers and left New York to tour the
South. "We weren't what you'd call a
smash," Benton says, "and it wasn't
long before I was back in New York
trying to peddle my songs.

"In 1958, I had the first big break of
my career when I met Clyde Otis of
Mercury Records. Clyde and I began
working together and we collaborated
on many songs which later were re-
corded by other singers like Nat King
Cole, Clyde McPhatter, Roy Hamilton.
We've also collaborated on songs that
have become some of my biggest hits,
including 'Just a Matter of Time,' 'End-
lessly,' 'Thank You, Pretty Baby,' 'Kid-
dio,' and 'The Same One.'

"Actually, 'Thank You, Pretty Baby'
was supposed to have been recorded by
someone else. When the other singer
failed to show up at the recording stu-
dio, someone suggested that I sing the
song myself. I did, and it became a hit.
There are many breaks in this busi-
ness. Good ones and bad ones. This
turned out to be a good one for me.

"Another good break for me, per-
sonally," Benton smiles, "came in 1955,

when I visited a rehearsal hall and met
Mary Askew, a secretary there. I fell in
love — for the first time." They were
married shortly thereafter and now
live in a $50,000 ten-room duplex at St.
Albans, Long Island, with their three
children: Benjamin, 5; Vanessa, 4; and
Roy, 3.

"My only regret about being so
busy," says Benton, "is that I'm unable
to spend as much time as I'd like with
my family. But Mary understands, and
we're very, very happy. We're together
as much as possible."

Benton's hobbies, when he has time
for them, include hunting, horseback
riding, and playing baseball with the
youngsters on the neighborhood sand-
lots. "Another of my hobbies, if you
could call it that, is keeping in touch
with my fans' clubs throughout the
world. Don't misunderstand — I'm not
bragging. It amazes me, a guy out of
South Carolina, to have fan clubs in
such places as Great Britain, Japan,
Ireland, the Scandinavian countries,
Honolulu, and the Panama Canal
Zone!"

The long, long road Brook Benton
traveled now spans the globe. And the
former boy choir singer spins farther
along with each song.

Hollywood's Happiest Marriage

(Continued from page 24)
a marvelous cook, a good manager, a
wonderful companion, a canny business
woman, a doting but sensible mother."
All this, not from a new bridegroom,
but a husband of seventeen years!

Dinah has her own explanation:

"Because I'm a career woman, I work
twice as hard at being a wife. Any
career woman has to. She has to stay
appealing and feminine, and put her
husband before anything else."

Dinah put George before anything or
anybody else, even before she married
him. This all began 'way back in the
early 1940's, when Dinah was a top girl
singer on radio. In addition, she made
movies, a lot of records and personal
appearances. One day in Atlantic City,
she found herself with a free afternoon
and went with a girl friend to a movie.
Exhausted, she promptly fell asleep.

But a strange thing happened. She
opened her eyes just in time to catch
a closeup of the hero on the screen. He
was George Montgomery, Western star,
and she had never before laid eyes
on him.

Dinah sat up very straight and stared
hard. "Where has he been all my life?"
she exclaimed. "That's the man I'm go-
ing to marry."
T Her friend replied, "Stop dreaming
v and go back to sleep!"
r But Fate stepped in. The War was
on, and Dinah was serving coffee and
72 singing at the Stage Door Canteen. To

whom did she hand a cup of Java,
one night? Why, to George himself!
After that, it was Romance with a capi-
tal R. They dated steadily and were
married in December, 1943.

George was in the service and was
whisked away to Alaska. Dinah sang
for the troops overseas. When they re-
turned, they had their honeymoon in
a one-room cabin which George built
himself.

The seventeen years since then have
been crammed full of memories — like
the one when Dinah, still a new bride,
got up at dawn on George's ranch to
cook breakfast for fourteen hands. "I
knew how to cook but the ranch had
a wood-burning stove that defied me,"
Dinah laughs. "My steaks were leath-
ery, but George was so sweet about it,
I still remember it as if it were yester-
day."

George has his own memories: "I
was a rancher from Montana. Dinah was
a Southern girl, trained to walk on
velvet. For my sake, she learned to
walk on grass."

The story of their marriage is that of
two people who continually put each
other first and their careers second.
"And George has more than one ca-
reer," Dinah points out. "He's wonder-
fully versatile, a genius at working with
his hands. He made all the furniture
and paneling in our house. And, every
time he made something new, one of
our friends would beg to buy it. There

were so many empty gaps in our house,
George had to go into making furniture
in self-defense. So now he has his own
factory, making replicas of antiques,
beautifully hand-rubbed. He's made
the chairs, the tables, everything in
our house, with loving care."

These two take pride in each other's
work. When Dinah does a new show,
George has to be close by, for she needs
his opinion. "What do you think?" is
her first question after a rehearsal. His
opinion counts. If George says it is
good, Dinah feels better. If George finds
some rough spots, Dinah smooths them
out.

What George meant by her being
born to walk on velvet was that — as a
Southern girl, and particularly, as one
who had had polio as a child — Dinah
might easily have become pampered
and spoiled. But she never was. When
she was recovering from the effects of
polio, she asked no quarter and made
herself do hard exercises till no one
could see she had ever been ill. In the
same way, she disciplined herself when
she married George.

The Montgomerys rise early. Dinah
admits to a weakness for breakfast in
bed, but she never gives in to it.
George, as a rancher, is used to getting
up with the sun. Dinah gets up because
she wants to eat with George and the
kids, "Missy," 13, and "Jody," 7. After
George drives them to school, Dinah
settles down, like any working wife, to

organize her household, plan her
menus, cope with the laundry and
tailor. When they have a housekeeping
couple working for them, her work is
made easier. When they don't, the
household still functions smoothly, for
Dinah takes her homemaking seriously.
Once Dinah leaves for the studio, her
day is full of rehearsals, fittings, pub-
licity stills, interviews. But, at the end
of it, Dinah Shore — like Cinderella —
turns into Mrs. George Montgomery
again and dashes home in time to spend
an hour with the children before dinner.

Dinner is a family affair, complete
with television, as it is in millions of
other American homes. Whenever pos-
sible, they go to their home at Palm
Springs on weekends to rest and just
be together. They don't do much enter-
taining, but, when they do, Dinah does
the cooking. George can cook, too, and
Dinah takes a lot of ribbing from him
because he knows his way around the
kitchen.

He and Missy are great pals, and
sometimes they go down to open the
Palm Springs house ahead of Dinah.
When she arrives, the ribbing starts.
"You're a good cook, Mommy," Missy
will say, "but so is Daddy." And George
will grin, "Isn't the coffee a bit strong?
How is it I never get it that way and
the toast is always done to a turn?"

But Dinah calmly takes over in the
kitchen, with George lending a helping
hand. Ever since they married, chores
have never been tagged "Dinah" or
"George." Whoever is free pitches in
and does what needs to be done.

On Sundays, they spend a lot of time
with Dinah's sister Bessie and her hus-
band. The two families are always vis-
iting, having picnics, playing tennis,
enjoying family life. The Montgomerys
go put to night clubs only when they
must; they still prefer each other's com-
pany at home or simple social gather-
ings with their closest friends.

Vacations are red-letter affairs, but
they have to manage to get the whole
family away together — not always an
easy matter to arrange. In the summer
of 1960, Dinah and the children flew all
over Europe, filming her shows in
Copenhagen, Lisbon, Madrid and Paris.
When George came over, it was a holi-
day and they took their "family vaca-
tion" on a leisurely boat trip coming
back to the United States.

''We live simply," Dinah says. But
George paraphrases it, "We simply
live."

This, then, is the secret of their hap-
piness: They live and have lived to-
gether well and have brought each
other a fulfilling maturity.

"We've never argued for more than
two minutes at a time," says Dinah. "I
think our only 'disagreement' lasted for
an hour. But we talk things out for
hours without emotion. George is a
reasonable man, so fighting isn't neces-

sary. We can talk out anything, discuss
anything — without quarreling — because
we both know there's one right way to
do everything. We talk until we find it
together. We're both very amenable."

Another thing the Montgomerys
avoid — taking each other for granted.
If they are pleased with each other,
they say so, and a warm glow spreads
over their marriage. Feeling all the
love surrounding them, Missy and Jody
are stable and happy children. They
like nothing better than a jaunt with
their parents.

Whatever the Montgomerys do, they
do together. Even their hobbies: Ten-
nis— tramping over the countryside in
jeans ("George is a hill-and-country
man and I've learned to be one, too") —
doing Sunday painting. George always
could paint. Dinah took it up as a re-
laxing hobby and has become surpris-
ingly good at it.

Of television, George sayl, "The
reason Dinah is so perfect for the
medium is that she comes into your
living room as a friend. Her warmth
comes from really loving people and
speaking to them from her heart. It's
the secret of her success."

Ask him: "Haven't you some gripe
about Dinah? Is she absolutely per-
fect?"

George thinks for a moment and a
twinkle comes into his eyes. "Sure,
I've got a gripe. She drops her clothes
around. I didn't like it, because I'm a
neat man — the Army influence, you
know. I used to gripe a lot until I began
asking my friends and learned their
wives throw their clothes around, too."

As for Dinah, she can't find a thing
wrong with George. How can she, when
he's brought her only good and taught
her how to live? "I used to be a 'today'
person," she says. "I was always going
at a fast clip, in a hundred directions at
once. I never could see the forest for
the trees.

"If there's one thing that George has,
it's perspective. He taught me how to
stand still, how to stand off and view a
situation. If I'm flighty, he's the ballast
of the family. He's got all this and a
sense of humor, too. What more could
a woman ask for?"

Yes, Dinah Shore Montgomery has
everything. If marriages were made in
heaven, hers would be. But she knows
better than to believe this fairytale. She
knows that a good marriage has to be
worked at, day by day. She works at
hers, and so does George.

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Don Knotts: Idea Man

(Continued from page 14)
father relaxing with his children. He
smiles appreciatively as little Tom
proves he can now jump from the sec-
ond step of the stairway — without hold-
ing onto anything. He grins as six-year-
old Karen comes home from a skating
party to announce that she "didn't fall
down once, because I stayed on the side
and held on!"

"Don is very, very good with the
children," says Kay, who has been Mrs.
Don Knotts ever since their under-
graduate days at West Virginia U.
Kay Knotts is a petite woman, red-
haired and soft-spoken. "We both rep-
rimand the children, but Don has more
patience with them. He's the boss, the
man of the family, and he can lose his
temper — but it doesn't happen very
often.

"When Karen has a tantrum, he's
very understanding. He asks her, 'Now,
what are you really mad at?' And he
can get her out of a temper by finding
out what's at the bottom of it."

Kay is proud of Don's present success,
but she is too busy being a wife and
mother to be overwhelmed by it all.
Besides, she has made her own con-
tribution to that career. It all began
when Don returned to West Virginia U.
after the war. He had been "picking up
a few bucks" with a ventriloquist act
since he was only twelve. "Mostly," he
says, "I listened to Edgar Bergen. He
had good jokes and I used most of
them."

When the war came along, Don had
been drafted out of the university and
sent to anti-aircraft school for six
months. Later, he had been assigned to
perform in a service show, "Stars and
Gripes," which toured the Pacific for
two years. After his return to school, as
Kay says, "I think the whole class was

a little awed when the professor told us
Don was a professional entertainer and
was in our drama class. We were im-
pressed because we couldn't do any-
thing, and he could get up and do a
pantomime."

They were married during their last
year in school, but, after graduation,
were uncertain how to go about start-
ing Don's career. "We headed West," he
recalls, "and stopped at Tucson to see
my brother. I still had my G.I. Bill, so I
thought I'd go after my master's at the
University of Arizona. But they didn't
have the courses I wanted and I dropped
out. I didn't even finish the semester —
especially, after my Shakespearean
teacher told me I might flunk."

Back they went to West Virginia and,
although Don was offered a fellowship
to study for his master's, it was a time
of indecision, uncertainty, a time of
shaky confidence. He had tried to crack
New York, when he was only seven-
teen and just out of high school. "I
struck out completely. I had two audi-
tions which seemed major to me —
Major Bowes and Camel Caravan. I
flunked out on both of them and went
back home completely discouraged."

With this to gnaw his memory, and
with the added responsibility of a wife,
Don was understandably uncertain —
till one day, almost on impulse, he
turned to Kay and said, "Let's go to
New York." She said immediately, "I'm
ready," with no mention of the security
they would leave in West Virginia.
"Kids today," she says now, "seem to
think security is all there is to living,
but I've never felt that way. There are
so many adventures to be experienced,
and this was one of them — even if we
did have to borrow a hundred dollars
just to get there."

Why not write us a letter? 761

In this issue of TV Radio Mirror, there are more stones than in the past.
Many of them are, as before, about favorite stars of TV seen regularly on
weekly shows. Others, as you've noticed, are about new stars, new shows.
Or about what goes on behind the TV scene. Please write us a letter to
let us know what you'd like in future issues:

HOW MANY
YES NO EACH MONTH?

Stories on major established performers on TV

Stories on the people you see on TV who are

internationally prominent, but not entertainers

Discovery stories on new talent in TV and in the

recording field

Stories on developments in TV, such as Pay TV,

Color TV, international projects, etc.

Reviews of new TV series (one a month)

Behind-the-scenes stories

Send to: TV Radio Mirror, Box 2150. Grand Central Station. New York 17, N. Y.

Don got lucky. He got a start in radio
through Lanny Ross, whom he had met
in the Army. But it was only a start,
it wasn't a living. They survived on
Kay's salary as an office worker until
Don began earning enough to support
them both.

These days, Kay is more concerned
with seeing that the children get to
church on Sunday and that Don eats
regularly. "He's getting to be a pretty
good eater," she confides, "but he still
has a lot of dislikes. I like to cook
sort of fancy, but Don prefers steak and
potatoes. Or chili. Or Italian food."

They are both in love with California.
Kay allows, "I've had all the snow I
want for the rest of my life. We lived
in New Jersey and used to be stranded
because we couldn't get the car out of
the garage. You can't even get us up to
Arrowhead or Big Bear now. We like
it fine right here."

"We were saving up the money to
come to the Coast," Don adds, "when
I got on Steve Allen's show. That kept
us in New York. Then, the last year we
were on the air, Steve moved the whole
show to Hollywood, and I was delighted.
It didn't cost us a cent!

"The only thing we miss is the
theater. There isn't too much of it out
here. Mostly, we go out to dinner or
play bridge with friends. I'm not a
putterer, so I'm not much help around
the house. Actually, we don't plan our
recreation. We sort of take it as it comes
along. During the week, there isn't
much time for recreation, anyway. I
get up at six or six-thirty, and we work
from eight until we're finished. By that
time, I'm ready for bed. My only ad-
diction is golf. I'm not good, but I love
the game and usually that's where I'll
be on a weekend."

Don is a prime example of the fact
the best way, the only way, to get ahead
in show business is through hard work.
When he went into the stage production
of "No Time for Sergeants," with Andy
Griffith, he wasn't content with merely
doing his turn. He began writing his
monologues and trying them out back-
stage with the cast, who comprised a
hypercritical audience.

He tries his gags on Kay, too, but she
declares, "I'm not a very good judge.
If there's an audience and you have
someone to laugh with, it's easy. But
when you're alone, it's hard to know
if it's funny."

Don and Andy got to be pretty good
friends, though their paths crossed only
occasionally after "No Time for Ser-
geants." When Don heard that Andy
had "spun a TV pilot off" The Danny
Thomas Show, he went to him, not just
to ask for a job, but with an idea. The
idea was — Deputy Barney Fife.

The Andy Griffith Show is what is
known in the trade as a "happy show."

As Don explains. "When somebody
makes a suggestion — the cameraman,
for example— Andy will say, 'That's
pretty good. I think we ought to hear it
for Bill.' So everybody stops and sings,
What's the matter with Bill? He's all
right!' People think we're nuts, because
production completely stops while we
all stand and go through that. But it
relaxes everybody and tension never
gets a chance to build up."

Don has cut an album of his mono-
logues, which will soon be released.
Since he's been on the Coast, he has
also worked in three movies. He enjoys
picture work and hopes to do a great
deal more. ''I don't care too much for

Broadway, I like to appeal- on a stage
once in a while, because stage work is
stimulating and it's good to work with
an audience.

"But when you're in a play for a
while, it gets very monotonous. If you're
in a real good show, sometimes it won't
go stale for a year, but any show will
wear on you. I don't want to go back
to Broadway for another reason: I've
been reading the papers, and it's been
cold back there!"

Kay and Don are living tne way they
like to live, and they couldn't be hap-
pier. Which was the main idea when
they got married — and, as we said, Don
Knotts is a fast man with an idea!

She Grew Up on TV

(Continued from page 39)
was a professional model. At six, she
made her first commercial film, and her
first dramatic TV appearance on the
dramatized religious program, Lamp
Unto My Feet. At seven, she had a role
in a Studio One drama. At eight, she
originated the part of Patti in the CBS-
TV daytime serial, Search For To-
morrow. For these past ten years, Lynn
and Patti, together, have crossed the
boundaries between childhood and girl-
hood.

Lynn has carried many regular roles
in radio serials, done nighttime TV
drama — including Play Of The Week
twice, in "Seven Times Monday" and
"The Climate of Eden." She has done
off -Broadway plays, made an Elia Ka-
zan movie, "Splendor in the Grass,"
with Natalie Wood, for release this
summer. She does commercial films,
recently appeared on NBC -TV in a
one-hour Special For Women — the one
called "Mother and Daughter," in which
Patricia Neal and Arthur Hill played
her parents, and she was the rebellious
teenager.

Despite her show-business back-
ground, Lynn could be any very pretty,
well-bred girl on any college campus.
Her eyes, hazel and wide-set in a deli-
cate oval face, are clear, kind and
candid. Her hair hangs simply in a soft
cloud of auburn-brown. She is five-
feet-three, holds her weight to one
hundred pounds.

Take this question of weight, just as
a starter. When all the other kids are
ordering hot fudge sundaes, Lynn can't.
"I wouldn't be aware of having to watch
my weight that much," she sighs, "if I
weren't on television. But I know very
well that everyone photographs about
ten pounds heavier, and I must stay
around a hundred to look right on
camera.

"At one time, I got about fifteen
pounds over — just when I was sent a
script for a movie. The girl in the script
was described as 'painfully thin.' They

had to 'shadow' me in the screen test
to make me look thinner. Other girls
can get by with a few extra pounds. I
found out an actress can't."

Although she doesn't look like an
actress — she uses less make-up than
most teenagers, wears untheatrical
clothes — there's that other ever-present
problem of having to make the best
possible appearance at all times. "When
I am dressed up, I may not meet anyone
I know or who knows me. But just let
me go out — even in my own neighbor-
hood— without being properly dressed,
and I meet everyone, including my TV
fans!"

Still another problem is trying to be
like everyone else in her crowd. Going
to a party to enjoy herself as other girls
do, not to be asked to entertain and not
to be singled out as different. Forget-
ting she is an actress, separating her
work from her social life. The last thing
Lynn wants to do is to capitalize on it —
if only people would let her.

At a charity ball, last winter, the boy
who was her escort was busy in the
receiving line while newsreel photog-
raphers were taking pictures. Lynn was
attractively costumed, and they took
her picture and asked her name. "This
boy was surprised that I hadn't told
them who I was. He went over to them
afterward and said I was an actress and
told them what I did. But I wasn't
there as an actress, only as a girl lucky
enough to be having a good time at a
wonderful party for a wonderful cause."

Other boyfriends have been amazed
if she acts like any other fan when
glamorous stars are around. "I'm com-
pletely awed," she confesses. "When
someone like Zsa Zsa Gabor or Julie
London swoops into a party or a night
club, looking absolutely gorgeous, and
the photographers rush to take pictures
and everybody stares, I stand there and
stare with the rest of them. Why
shouldn't I react like any other teen-
ager? Why pretend to be blase?"
(Continued on next page)

The yearbook
that tells you
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Problems arise about dating. A boy
who dates Lynn always runs the risk
of having it broken, sometimes at the
very last minute, through no fault of
hers. "One night, I was to be hostess
at a dinner party a boy was giving.
Dinner was at seven-thirty, and I prom-
ised to be there not later than seven.
I was fuming a commercial, to be fin-
ished by five. But the filming went on
and on, until ten in the evening, and I
simply couldn't leave. It was unfair to
the boy — yet I had an obligation to my
work.

"Some boys simply don't or won't un-
derstand about my work," Lynn ac-
knowledges. "If they take me to the
theater, they can't see why I can't al-
ways go somewhere to dance after-
wards. 'An hour more or less can't
make that much difference,' they argue.
I try to explain that an actress goes to
work, sick or well, tired or rested — but
she owes it to herself, to everyone she
works with, to be well and look well.
A girl can go to school the next day
with circles under her eyes, but an ac-
tress can't. And she has to be abso-
lutely punctual and keep to a schedule,
or else she throws off everyone else's
schedules. She can't do only what she
feels like doing, when she feels like
doing it."

The greatest problems, of course, con-
cern a teenager's education — how to get
the best one possible in the "staggered"
hours left for study. In Lynn's case,
this has worked out well, largely be-
cause of the emphasis her parents put
on doing school work first and studying
scripts second, but also because of
Lynn's own capacity for hard work and
concentration.

Grade-school years were spent at the
Mace School, from which many young
stars have graduated — Tuesday Weld
and Patty McCormack among them;
Carol Lynley was in Lynn's own class.
In June, 1959, Lynn — not yet sixteen —
was graduated with honors from the
Calhoun School for Girls, where she
had taken her high-school work. She
was admitted to Barnard College in
New York — just before a movie role
was offered her.

The college released her for the part,
Search For Tomorrow wrote her out of
its script temporarily. Then her mother,
who acts as her personal manager, saw
the complete movie script for the first
time and refused it, because of scenes
she found objectionable for Lynn.

"I hadn't minded the break in my
college year," Lynn says, "because I'm
two years ahead of my age group and
I felt, if I missed one term, it wouldn't
matter that much. But, suddenly, I was
left with all those upset plans, involving
my entire college program. So as not to
miss out completely, I enrolled in some
classes at Hunter College. I would like
the same education I would get if I
weren't an actress, but this takes more

work and more self-discipline.

"Other girls have classes at regular
hours. I take mine any time I can —
sometimes I start at five in the after-
noon and work through until eight-
thirty. Sometimes, if I'm not on a
show, I start early in the morning. Not
that I'm complaining about it — I have
been very lucky. I chose this way, and
I don't mind having to pay the price
for it."

There is the problem of how much
freedom a teenager should have, even
an actress who has been treated like an
adult in the professional world. "I go
with an older crowd, especially with
older boys. Some actors, but mostly
young business men. While I feel per-
fectly capable of handling myself in all
situations, I still don't think it looks
right for a girl of my age to do all the
things the older girls can do. Like stay-

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ing out as late as I please or going any
place I please. My mother wouldn't
like it — and I really wouldn't blame
her."

"Lynn has a curfew," her mother ex-
plains. "If it's a Friday or Saturday
night, and she telephones me and says
she is having a wonderful time and
wants to stay longer, I don't mind. I
just want to know where she is. Every
boy who takes her out must call for her
at the house. That's one strict rule. She
must be escorted back to her door.
That's another rule. Outside of that,
there aren't many others."

Lynn realizes that most of her friends
can do things she simply hasn't time for.
"My best friend wanted me to go to
Washington, D.C., with her — but I had
commitments those days on Search For
Tomorrow. Last Christmas, our crowd

went skiing over the holidays — but I
had jobs to consider."

People are prone to think that, when
an actress keeps busy and earns well,
it's all profit. Lynn's money goes into
many necessary expenses. More than
half is paid out in income tax. "I am
happy to pay the tax — happy to be
earning enough to pay it. But nobody
understands how little is left over when
all the expense is added."

"A child in show business needs
many special lessons," her mother says.
"First, there's private schooling, because
of the odd hours. This costs Lynn a
minimum of $1,200 a year. There is tu-
toring in subjects she may have missed
during the school year — algebra, ge-
ometry, languages. Special coaching is
required for some parts. Dancing les-
sons, ballet, vocal lessons, dramatic
coaching.

"When she plays a younger role —
which she can, simply by changing her
hair style and her clothes — she has to
get a whole new outfit. If she plays an
older girl, the clothes she has may not
be suitable. She had to buy a new
wardrobe just to take one audition, al-
though nothing came of it. But it was
important for her to look right."

Her mother adds: "She pays dues to
three professional unions — A.F.T.R.A.,
because of her radio and TV work;
S.A.G., because of her movie work; and
Equity, because of her stage work. Fan
mail must be handled — she keeps up
with it as best she can — and all this
involves expense."

There are advantages in being a teen-
age actress, and Lynn is quick to admit
them. Some boys like to date an actress.
They feel she has that "extra some-
thing" that makes her more desirable.
On the other hand, there are boys who
shy away from a girl already doing pro-
fessional work for professional pay.
This puts her at a disadvantage.

She has learned concentration, co-
operation. To control her temper, even
when she may feel she has good reason
to blow up. To take criticism, listen to
instructions, and take direction. To be
part of a smooth-working team.

"I love my career," Lynn says. "It's
my first love. But, as I grow a little
older, I realize that it has its place —
that, in order to grow as an actress, one
has to grow as a person, and being an
actress is only a part of my life. Getting
out and having a good time has always
been more fun for me when it was a
change from work.

"There is no denying that being an
actress has often interfered with other
things I wanted to do. No denying the
dates I missed, the parties I couldn't go
to, the evenings I wanted to stay up
late and had to be in bed by nine.

"But I chose it, and I enjoy what
I'm doing more than anything else. I
have a wonderful life. I know I'll never
feel the cost has been too high."

From These Roots

(Continued from page 11)
as it is. "Housewives simply are in-
terested in everything that interests
other women," says writer Stadd, who
continues: "There are two central
characters in From These Roots — Liz
and David. But we are not only tell-
ing the story of two people. We tell
the story of an entire family, the en-
tire town of Strathfield, and all their
complex inter-relationships. It's a story
that never really began and will never
end. It goes on and on, as families go
on and on.

"There is no rigid pattern. We don't
say, 'This is the way it is — today, to-
morrow and forever.' I write the scripts
according to the way the story unfolds.
If a character begins to get more in-
teresting, to 'take over' — and often it's
the viewers who first call this to my
attention— then I build up the part.
Nothing has to remain static."

Healthy family relationships are a
basic quality of the drama. There is
the relationship of the father, Ben
Fraser, to the younger members of the
family . . . Ben is what the world calls
an elderly man, but still active, still
looking forward, still pulling his own
weight. There is Kass, the Fraser
housekeeper . . . Kass is an individual
in her own right, not merely someone
who walks in and out, serving coffee or
answering telephones and doorbells.
She mothered Liz after Mrs. Fraser
died: when Kass herself was ill, the
entire family was caught up in the
concern for her.

There is the excellent relationship
between Liz and her older sister Emily:
"Here are sisters quite unlike in tem-
perament and experience, yet able to
have deep love and understanding be-
tween them, and to talk to each other
on their own terms."

Emily's own relationship with her
daughter Lyddy is also a good one.
Emily has come to grips with herself
after some stormy years. She has now
become a point of identification with
many viewers around her age. Emily
has lived through a period when she
suffered from pseudocyesis (spurious
pregnancy) , caused by the shock of be-
lieving she had lost her husband's love
and the need to have another child to
forge a new link in their marriage.
Although she recovered, she became a
widow shortly after, and has developed
as one of the most interesting char-

acters in the story.

Problems — often among those en-
countered by many viewers themselves
— are met head-on. The whole question
of the adoption of older children (the
so-called "unadoptables") is one of
these. When Maggie and Dr. Buck
Weaver decided to adopt an infant —
and were led, instead, into adopting
not only a five-year-old boy but his
six-year-old "problem" brother — the
mail increased from "adopted" parents
who were particularly interested in
the emergencies, problems and rewards
of such adoptions, as depicted on their
TV sets.

The subject of "black market" babies
was treated with equal frankness, and
both the producer and the writer felt
they had rendered a service by airing
the whole question in terms of human
drama.

From These Roots has dealt with
juvenile delinquency. Medical emer-
gencies have occurred. "I don't believe
we have to bring in a lot of diseases or
dwell too much on medical procedures.
When Kass required a brain opera-
tion," Stadd points out, "that was an
integral part of the plot. I talked to
doctors before I wrote the hospital
scenes. Kass had hit her head and in-
jured blood vessels. This happens. The
operation is the cure. It was all com-
pletely true to medicine — and to life."

An interesting sidelight on the op-
eration is the number of messages that
poured in, asking to have Kass get
well. "Don't let Kass die," they begged
Len Wayland, who plays Dr. Weaver —
and who notes: "They wanted me to
see, personally, that Kass came out all
right. I don't think they quite trusted
the writer or the producer. They went
directly to the doctor!"

"We try to make our show a healthy
one," Stadd explains. "Where a char-
acter needs to undergo psychiatric
treatment, as Emily did for a time, it
was used as the great, modern tool
it has become. But we steer away from
psychiatric terminology. People today
are familiar with psychological medi-
cine. They know something about the
treatment of the mentally disturbed.
But that's no reason for bringing it into
the story merely to resolve some situa-
tion."

Humor and fun also have their place
in any drama that is true to life.
Sometimes this is projected, on the

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show, through father Ben Fraser, who
loves to "pull the leg" of some other
member of the family until he gets the
laugh he's angling for.

"The great thing we try to bring
out," says Stadd, "is that people who
live together — in a family, a com-
munity, in any group — are bound to
have arguments, strong differences of
opinion. But underlying these is the
respect — more than that, the love —
they have for one another. On daytime
TV serials, people aren't ashamed of
that word 'love.'

"Perhaps their emotions seem
stronger because we have more time to
portray them in depth. All the dra-
matic elements of a good nighttime
drama can be shown, but there is
greater opportunity to explore them.
Our story doesn't need to be hurried
along. What we can't do today, we can
do tomorrow."

Leonard Stadd fully realizes how
much the writer is aided by good pro-
duction and direction, and by having
fine actors to interpret his words. Eu-
gene Burr is the producer of From
These Roots, and Paul Lammers di-
rects. All work together closely. "No
matter what I write, nothing would
happen without all of them and all
their help."

Stadd speaks out of personal experi-
ence, as both actor and member of a
family "team." Not too successful, at
first, as a writer of short stories and
magazine articles in New York, he be-
came interested in TV while working
for an agent for playwrights. "I read
hundreds of TV scripts," he says, "and
kept telling myself I could do better.
So I had to prove it." He has— not
only as sole writer of From These
Roots, but in previous stints for such
shows as Ellery Queen, NBC Matinee

Theater, and The Verdict Is Yours.

Behind his current success is the
woman he credits with starting it all:
His wife Arlene. Born thirty-five years
ago in Baltimore, Maryland, Leonard
met Arlene while doing a little-theater
production there. It was she who read
his early writings and encouraged him
to take courses at Johns Hopkins. And,
when she left to study drama at Car-
negie Institute, he followed — to major
in writing at the University of Pitts-
burgh nearby. They were married dur-
ing Christmas recess, now have a son
Robbie, who was five last April.

"Robbie plunged Arlene into semi-
retirement," the writer says. "But, last
winter — just to keep her hand in — she
did a bit part in From These Roots. She
played a nurse when Kass was ill . . .
and a male fan of the show immedi-
ately asked, 'Who was the new nurse?
Wow!' "

(Continued from page 31)
was concentrating so hard." Grant's
hands were still deeply scarred three
weeks later, on the set of "The Couch,"
Warners' psychoanalytical thriller
which stars Williams in a feature film,
by way of change of pace from his
partnership in TV's Hawaiian Eye.

Though he doesn't belabor the point,
the scars are, in many ways, character-
istic of Grant Williams, the man. Be-
hind the smooth, unruffled, handsome
brow of this seemingly smooth, un-
ruffled and handsome actor, there is
unsuspected depth, sensitivity, imagi-
nation and character. Grant Williams
has the looks of a matinee idol. But he
is also an artist and has the mind of a
mature man.

Grant's ability to think himself into
a part — even one as alien as that of a
psychopathic killer — is characteristic of
"method" acting and marks him as a
serious actor. "I spent several weeks
preparing myself for the part," he says.
"I talked to psychiatrists, parole offi-
cers, social workers, and studied actual
case histories. I find there is nothing
that helps me so much as research."

Despite his present seriousness and
dedication to his profession, he began
his acting career almost lackadaisically,
being long undecided about a possible
future as pianist, photographer or jour-
nalist. The background for acting is
there, of course, as it must be with
any talent. Grant started acting in
summer stock at the age of twelve and
continued with it, as an amateur,
through high school and four years of
service in the Air Force.

After graduation from high school,
v he set out to be a photographer and
R journalist, and learned both trades in
the service. However, after his dis-
charge in 1952, he didn't look for a job
■ 8

Doing Instead of Wishing

in either field, gravitating instead to-
ward show business again. Having in-
vested and promptly lost all his savings
in a partnership with an independent
television producer, he took a job as a
publicist with M.C.A. — world's largest
and most influential talent agency —
which finally became the stepping-
stone for his career as an actor.

"Looking back, I guess I just didn't
have the courage of my convictions,"
Grant says today. "Maybe my mother
had something to do with it, too. She
was all for my becoming a photogra-
pher and wasn't very happy when I
finally decided I wanted to be an actor.
She didn't think acting was solid
enough. I can't really blame her, either.
But it seems that acting is what I
most wanted to do all along — even
though I had to back into it, as it
were."

Success came quickly, once he'd
made up his mind. At M.C.A., he came
to the attention of one of the agency's
veteran executives, who sent him to
the Warner Bros. New York office for
an interview. The studio people liked
Grant and sent him to the Carnegie
Hall Dramatic Studio for training. He
didn't finish his course, however — be-
cause, shortly after he started it, he
entered and won the New York try-
outs for a season with the famous Bar-
ter Theater in Abingdon, Virginia.
This gave him his professional start
and a much-longed-for and hard-to-
come-by Actors' Equity card.

The format of the Barter tryout had
been established by the late Ethel
Barrymore, who limited each contest-
ant to a one-minute monologue. As
she pointed out: If a performer had it,
you could tell in a minute; if he didn't,
you thought your watch had stopped!
Grant evidently had it. > :

"There were four hundred contest-
ants that year," he recalls. "Rosalind
Russell was the judge. I couldn't find
anything I liked in the literature and
wrote my own material — a comedy bit
about a man trying to get on a crowded
New York City bus, fishing for change
and arguing with the driver. It wasn't
great, but, luckily, it was good enough.
Roz, at any rate, didn't seem to think
her watch had stopped."

Coming back from Abingdon that
fall, Grant confidently made his rounds
of producers and was offered — nothing.
He was getting discouraged when, late
one night, his agent tracked him down
at a party where Grant was fighting
the blues with too much drinking. The
agent explained that a famous French
star had just been fired from a tele-
vision play which was slated to go on
the air the following' day. The pro-
ducers were desperate for a replace-
ment. Could Grant come right over
and try out for the part?

"Now?" Grant asked. "The way I
feel?" The agent answered firmly, "The
way you feel — or not at all!"

Grant left the party, took a cab to
the studio, read the part — and was
accepted. "Surprisingly, all things con-
sidered, I got pretty good notices. Also,
the play and the rest of the cast were
tops, so a lot of influential people saw
me. As a result, I had little trouble
getting other parts, from that point on."

He might have been satisfied with
smooth and easy success, if it hadn't
been for the influence of a remarkable
man. He says, "I became serious about
acting after I met Hank Viscardi. He's
the founder and guiding spirit of
Abilities, Inc., an electronics manu-
facturing plant on Long Island em-
ploying more than six hundred people,
all severely handicapped. Hank himself

was born with two shriveled stumps in
place of legs.

"But he has learned to overcome this
handicap so remarkably well that I
wasn't even aware of it, the first time I
met him, when he walked into a Madi-
son Avenue restaurant. I portrayed
Hank as a young man in a stage and
TV play written about him, and came
to know him very well. He's had a
great influence on me. Hank's example
has taught me that a man's life should
have a purpose. And it has shown me
how much can be accomplished by
doing instead of wishing."

As a direct result of Viscardi's ex-
ample, Hank enrolled as a student with
Lee Strasberg, director of the famous
Actors' Studio and high-pr/iest of
"method" acting. "I owe Mr. Stras-
berg a great deal," Grant acknowledges.
"Just about everything I know about
acting."

Today, Grant's career is booming,
but his goals are far beyond mere star
billing and material rewards. Besides
acting, he hopes someday to direct,
and he writes in his spare time. In
addition to a respectable string of TV
writing credits, there are (as yet) un-
published short stories, poems, and an
unfinished screenplay about his war-
time experiences in Korea. He's an
avid reader, a student of comparative
religions, and a hiker who's never hap-
pier than when he roams the Big Sur
country of Northern California, where
he owns a weekend shack.

As a photographer, he still does
professional work occasionally, notably
some album covers for pianist Leonard
Pennario, a close friend. He loves
music. His great- aunt is Mary Garden
of opera fame, and his own talent and
accomplishments as a pianist are con-
siderable. Though he's not of^profes-
sionable caliber now, he's good enough
to play Beethoven, Brahms and Chopin
for his own enjoyment.

The one flaw in Grant's otherwise

thoroughly happy and fulfilled life is
that he has no one to share it with. He
acutely longs for a wife and a family,
but sadly admits that, so far, he hasn't
found the right girl. "I've been in love
several times," he shrugs. "Three times
during the past eight years, to be
exact. Unfortunately, each of these ro-
mances has ended in disappointment.
And — contrary to what they say — each
new disappointment seems to hurt a
little more than the last."

One standard Grant will not com-
promise is absolute mutual faithful-
ness, a standard which is right in line
with the general code of ethics instilled
in him by his Scottish parents and
grandparents. Grant's father was deco-
rated with the Victoria Cross, Britain's
highest decoration for valor, compa-
rable to our Congressional Medal of
Honor. Grant himself spent two of his
most formative years, from ten to
twelve, in a Scottish school near his
grandparents in Glasgow. "My father
wanted me to have the discipline of a
Scottish school, and I agree with him.
I believe we could use more of it in
our own schools."

Grant follows through on his convic-
tions by steering his fast-spreading fan
clubs into fighting juvenile delinquency.
"We try to find responsible and mature
leaders who'll work with the kids in
their communities. I meet these groups
whenever I can. We never preach, but
we try to promote good citizenship by
emphasis on proper dress and proper
behavior. And by setting a good ex-
ample. Being in the limelight is such a
tremendous responsibility. The only
way we can repay whatever gifts have
been given to us is by using our in-
fluence in a constructive way. With a
little effort, we can make slobs and
delinquents look like squares. After
all, that's what they really are!"

Grant Williams himself is no slob.
But he's definitely on the square about
doing something constructive in life,
instead of just wishing hopefully.

Tense moment for Grant Williams and Poncie Ponce in Hawaiian Eye.

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AUGUST, 1961

MIDWEST EDITION

VOL. 56, NO. 3

Ann Mosher, Editor

Teresa Buxton, Managing Editor

Lorraine Girsch, Associate Editor

Jack Zasorin, Art Director

Frances Maly, Associate Art Director

Eunice Field, West Coast Representative

STORIES OF THE STARS

Fiesta Time in Truth Or Consequences, New Mexico 10

Bruises and Boffos (The Three Stooges) by Leon Rice 12

Hey! Look Us Over (A look at 22 new singers) by Helen Bolstad 17

The "No" Lady of ABC (Dorothy Brown) by Bill Kelsay 29

Inter-Continental Connie Francis by Rose Perlberg 30

Second-Time Winner (James Darren) by Jerry Asher 32

The Many Facets of Rosemary Prinz. by Frances Kish 34

That Swingin' Singin' Johnny Tillotson by Lilla Anderson 36

Z is for Zany (Wayne and Shuster) by Kathleen Post 38

"Why I'm Still a Bachelor" (Lee Patterson) by Ruth Harvey 40

Dreamy Date Down San Diego Way ( Carole Wells and Carl Crow ) 42

The Day They Told Marty Milner "You'll Never Walk Again" . . by Charles Miron 44

New Beauty on the Today show (Anita Colby) by Alice Francis 46

Hunch Hunters by Robert Lardine 48

TV Surprise Package! (George Fenneman-) by Joseph Conley 52

Lucky Pat O'Brien by John Justine 56

SPECIAL MIDWEST STORIES

Make It Sparkle (Ken Reed of KXOK) 57

Give 'N Take (Tom Haley of KYW-TV) 58

PM—East and West (Mike Wallace, Joyce Davidson, Terry O'Flaherty) 60

It's Spin Time (Jack Hilton of WGN-TV) 62

FUN AND SERVICE FEATURES

What's New on the East Coast by Peter Abbott 4

Information Booth .' 9

What's New on the West Coast by Eunice Field 14

Beauty: Saturday-Style (Lydia Reed) by June Clark 54

New Patterns for You (smart wardrobe suggestions) 74

New Designs for Living (needlecraft and transfer patterns) 86

Cover Portrait of Connie Francis courtesy of Metro-Goldwyn-Mayer

BUY YOUR SEPTEMBER ISSUE EARLY • ON SALE AUGUST 3

Published Monthly by Macfadden Publi-
,< i» m cations. Inc. Executive, Advertising, and

Editorial Offices at 205 E. 42nd St., New
York, N. Y. Editorial Branch Office, 321
S. Beverly Dr., Beverly Hills, Calif. Irving
S. Manheimer, Chairman of the Board;
Gerald A. Bartell, President; Frederick A.
Klein, Executive Vice-President — General
Manager; Robert t. Young, Vice-Presi-
dent; S. N. Himmelman, Vice-President; Lee Bartell, Sec-
retary. Advertising offices also in Chicago and San Fran-
cisco.

Post Office at New York, N. Y., under the Act of March
3, 1879. Second-class postage paid at New York, N. Y.,
and other post offices. Authorized as Second Class matter
by the Post Office Department, Ottawa, Ontario, Canada.
© 1961 by Macfadden Publications, Inc. All rights
reserved. Copyright under the Universal Copyright Con-
vention and International Copyright Convention. Copy-
right reserved under the Pan American Copyright Con-
vention. Todos derechos reservados segun La Convencion
Panamericana de Propiedad Literaria y Artistica. Title
trademark registered in U.S. Patent Office. Printed in
U.S.A. by Art Color Printing Co.

Member of the TRUE STORY Women's Group.
Subscription Rates: In the U.S., its Possessions, & Canada,
one year, $3.00; two years, $5.00; three years, $7.50.
All other countries, $5.50 per year.

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WHAT'S NEW

ON THE
EAST COAST

On a recent visit to Detroit, Freddie Flintstone was mobbed by adoring fans.

by Peter Abbott

Heard Around: Rumors to the con-
trary, there is little chance Dick Clark
and wife will change their minds about
the split. The decision was a long time
in the making. . . . NBC will program
1600 hours of color next year. However,
CBS has no intention of programing one
minute. . . . Helen Jean Rogers, ABC
news special-projects producer, mar-
ried her boss, John Secondari. You saw
them working as a team during the con-
ventions. . . . Roger Smith stars as a
writer, too. He's scribbling a two-part
series for wife Victoria Shaw for fall
showing on 77 Sunset Strip. . . . Bob
Hope insists he wants a single sponsor
for his six specials next season, which
makes a problem. While Bob comes up
with top ratings, the costs of his shows
are comparably high — about $400,000 an
edition. And six times 400-grand is a
lot of popcorn for any single advertiser.
. . . Plenty of medical advice on tap for
fall. ABC slotting Ben Casey (a sur-
geon) at 10 p.m. Mondays, NBC's Dr.

Kildare will make house calls at
8:30 p.m., Thursdays — and there is still
Young Doctor Malone, every weekday.
Now, if we can just get CBS to schedule
a dental series. . . .

My Fair Lady: Julie Andrews has
signed for five appearances on The
Garry Moore Show next season. Curi-
ously, Garry will have two of his shows
for fall already taped before he leaves
on vacation in July. . . . There may not
be any new series on TV this year star-
ring a femme performer. Operation
Female, starring Polly Bergen, has been
indefinitely postponed. Polly's husband,
Freddie Fields, feels Polly's movie ca-
reer is about to bloom and thinks this
is more important. . . . When Dobie
Gillis returns in October, Dwayne Hick-
man will be permitted to play him as
a 20-year-old. Dwayne has played a
teenager for seven years — five with
Bob Cummings, two with Gillis. He's
really 27. . . . Dwayne's brother Darryl
loses his series, (Continued on page 6)

For What's New on the West Coast? See Page 14

Roger Smith hos big plons and they
include actress-wife Victoria Shaw.

ABC news people — John Secondari and
Helen Rogers — have news of their own.

Lovely Miss Universe I960, Linda Be-
ment, lends charms to 1961 telecast.

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WHAT'S NEW ON THE

(Continued from page 4)

The Americans. It disappears at end of
summer. . . . Jack's daughter, Joan
Benny, and actor Mark Damon lighting
up on the same match. . . . Summer re-
placement for Hennesey: Ray McKin-
ley leading the Glenn Miller Band, with
Johnny Desmond singing. . . . Clark
Warren, Doc Curtis on From These
Roots, was flown to Hollywood for a
screen test. . . . Dorothy Provine's part
on The Roaring 20's being enlarged to
meet her demands that she "get more
dimension." Artistically, that is. . . . The
FM radio receiver has become a "status
symbol." A survey by Young & Rubi-
cam indicates most listeners tend to
be home -owners, college graduates, and
wealthy. . . . Silly but funny — Scott
Brady tells of the little boy who didn't
want to go to Europe with his mother.
"Shut up," she told him, "and keep
swimming."

Hubadubadoo: Hanna-Barbera has
a clever trick coming up, to maintain
the high rating of The Flintstones. The
cartoon series will feature guest stars
who will speak their own lines and be
drawn into the show. . . . Dave Garro-
way leaving the Today Show to spend
more time with his children after tragic
death of his wife. . . . Purex sponsors
summer reruns over NBC -TV. First
four include: July 11, "Those Ragtime
Years"; then, on succeeding weeks,
"The Single Woman," "The Trapped
Housewife" and "The Cold Woman."
The last three are from the Purex Spe-
cials For Women scheduled daytime
during the past season. NBC began to
consider nighttime reruns of the series

when women wrote in: "I want my hus-
band to see this series so that he will
understand he has something to do with
my problems." . . . CBS-TV gets the
big dramatic show next year. On a
budget 'round the half-million mark,
David Susskind will make a ninety-
minute version of Graham Greene's
"The Power and the Glory" starring Sir
Laurence Olivier, Julie Harris, Keenan
Wynn, Roddy McDowall and others. . . .
Connie Francis, a smash hit at the Copa
in her return engagement, now hopes
to make a movie with Sinatra in the
fall. . . . The 'Way Out series is real
gone. . . . Laconic David Brinkley will
have his new show co-sponsored by
Douglas Fir Plywood Association. Let's
hope he doesn't get boxed in. . . . Tom
Poston claims a friend has invented a
new hair restorer. "It doesn't grow hair.
Just shrinks your head so your own
hair will cover it."

A la King : Alan King has been eager
to try his own comedy ideas in a series.
His new pilot film will get a "special"
tryout this fall on CBS-TV. Showing a
pilot is like trial by fire. Alan will get
only critics' reaction, which seldom has
anything to do with popular tastes. Most
of the nation's favorites got poor re-
views in daily papers on first expo-
sure. . . . The answer to whatever hap-
pens to TV pilots that don't sell as series
may be revealed on Westinghouse Pre-
view Theater, starting July 14, on NBC-
TV. Program includes outstanding pilots
of various uncompleted series with such
top stars as Shirley Jones, Hal March,
Joe E. Brown. . . . Loretta Young, who

One of NBC-TV's summer Purex Specials stars Barbara Baxley, Patrick O'Neal.

EAST COAST

Leaving TV after eight years, lovely
Loretta Young has new-old interest.

said she was through with flickers and
now is through with TV, is looking for
the right movie script. . . . Not much
chance of Haila Stoddard returning to
The Secret Storm. She is giving all her
time to Broadway production and cur-
rently working with Noel Coward on
his new musical. . . . NBC publicist
Gene Walsh expects a second blessed
event in October. . . . July 15, John
Daly reports on the Miss Universe Pag-
eant from Miami, assisted by Linda
Bement, last year's Miss Universe.
Normally, a CB newsman would have
copped this assignment but a new net-
work policy is now in effect: CBS-TV
reporters will be confined to work that
deals with news and news documen-
taries. One result of this is that Doug
Edwards will have to give up his Arm-
strong Circle Theater assignment next
season. . . . NBC has established a full-
time news bureau in Leopoldville to
coordinate network coverage of Africa.
. . . Reminds one of a remark attributed
to Henry Morgan, who noted that can-
nibalistic nations seem to prefer live TV
shows!

Surf Happy: Surf Side 6's Lee Pat-
terson came into New York to meet
N.Y.C. newsmen. "It's kind of a paid
vacation," he said. "I'm building a house
north of Sunset Boulevard and can't
afford to pay my own way." . . . Kookie
was also in town and dogged by scores
of fans every time he hit the sidewalk.
. . . The F.C.C. receives an average of
fifty letters a day complaining about the
contents of TV shows. A televised rodeo
drew hundreds of letters alleging cru-
elty to animals. . . . Indirectly, it would
seem the public ego takes a beating
on charge that so many TV shows are
bloody or silly. Actually, an average
of 5,722,000 homes tunes into public-
service programs, an increase over a
(Continued on next page)

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WHAT'S NEW ON THE
EAST COAST

{Continued from previous page)

year ago. Entertainment specials aver-
age only another three-million. . . . Mike
Wallace expects to return to network
TV via new series, Biography. Two of
those up for profiling: The late Gary
Cooper and Clark Gable. Wallace prom-
ises candid approach to all subjects. . . .
The Tall Man's Clu Gulager is mutter-
ing "go East, young man." He'd like to
do a Broadway show. . . . You may not
always love commercials, but you have
to admire the fiber of the salesmen.
CBS has been trying to get A. T. & T. on
their network for umpteen long years.
Finally made it, and the corporation
will pay the way for CBS Reports next
season. . . . Jack Sterling is taking in
more wash than ever. Added a couple
more automatic laundries to his hold-
ings. . . . Goodson-Todman boiling at
Las Vegas bigwigs. After the producers
spent $200,000 on the pilot for Las
Vegas Beat, the city's citizens turned
thumbs down. Goodson-Todman say
they will go ahead with the series, if
they can find a sponsor — or at least turn
the pilot into a feature film.

Happy Thoughts: Carolyn Miller,
secretary to ABC news chief Jim Hag-
erty — Ike's former press secretary —
finds Mr. Hagerty a surprise. "I had
heard he was a hard-boiled newsman
and difficult to work with. Actually,
he's nice and relaxed." . . . The most
creative people come to New York, in-
stead of drawing moustaches on poster
faces, they are chalking off Mitch Mil-
ler's beard. . . . NBC seems to have the
inside track to Presley for a special. . . .
For his interest in the welfare of the

Lovely addition to ABC news depart-
ment is former actress Lisa Howard.

Currently appearing on Broadway, Hal
March will soon be seen on TV again.

physically handicapped, Dave Garro-
way received a Doctor of Ocular Sci-
ence degree from the Massachusetts
College of Optometry. . . . The very
finest in teleplays are being repeated
Tuesday nights over CBS -TV during
the summer, with Playhouse 90 tapes
that star such as Van Heflin, Jack Lem-
mon, Geraldine Page, Lee Remick, Kim
Stanley and Richard Boone. . . . Now
ABC has hired their first female news
reporter. She is lovely Lisa Howard, an
actress who previously worked on As
The World Turns and The Edge Of
Night. . . . Steve Allen — with a comedy-
variety hour — will get the ABC -TV
spot vacated by Hong Kong on Wednes-
day nights. His competition will only
be Wagon Train. Lotsa luck! . . . Now
that the Lucy-Desi divorce is final, it
can be noted that Lucy took with her
a 25% interest in Desilu, which is val-
ued at about $12-million. . . . Two eight-
year-olds in suburban Indianapolis
thank Wagon Train for saving their
lives. Debra Robbins and Pamela Shir-
ley fell into twelve feet of water, deep
in an old well. Neither could swim, but
Debra braced her back and feet against
the wall and Pamela hung on to her.
After they were rescued, Debra ex-
plained she had learned the trick from
viewing an episode of Wagon Train. . . .
Using an abandoned church in Man-
chester, England, Charles Perry manu-
factures a soap called Brand X, the
detergent that gets blamed for all tattle-
tale gray in TV commercials. So great
is the demand for Brand X that he is
stepping up production from 45,000
boxes a day to half a million. ... Or as
a wise man once said, he who lathers
last, laughs best.

I NF ORMATION
BOOTH

Warren's a Winner

What can you tell me about the hand-
some young actor, Warren Beatty?

J.E.S., Mitchell, South Dakota

When good-looking, blue-eyed Warren
Beatty was a small boy, he couldn't seem
to make up his mind about what line of
work he would eventually follow. At six,
he wanted to be President; at seven, Gov-
ernor of Virginia (he was born there,
twenty-three years ago) ; and, at nine, an
actor. Anyone who has seen him on TV,
in the movies, or on Broadway, knows
that the talented young man chose the
r}ght one when he decided on acting. . . .
Warren originally became interested in
show business through his mother and
maternal grandmother, both of whom
taught acting and directed little-theater
groups. . . . When the young actor went
to New York to study acting, he supported
himself as a bricklayer, construction work-
er and sandhog, before eventually getting
small parts in several TV shows. His major
break occurred when he got the leading
role in a Kraft Theater production. . . .
Warren's aim in life: To be a successful
actor, director, and writer. It's a big order,
but he's already half-way there. And he
has someone in his family who has set
him a good example — his sister is Shirley
MacLaine.

Some Quickies

/ want to know the birthplace and birth
date of singer Brenda Lee.

C.W., Randalia, Iowa

Brenda was born in Atlanta, Georgia,
or, December 11, 1944.

Could you please tell me if Betty White
and Polly Bergen are sisters?

A.M.B., Warwick, Rhode Island

They are not related.

When and where was Lori Martin born?
A. MM., South Boston, Virginia

She was born in Glendale, California,
on April 18, 1947.

Would you let me know if Faye Emer-
son was married to James Roosevelt?

J.D., Cleveland, Ohio

Faye was once married to Elliott Roose-
velt, not James.

Could you tell me when and where Don
Grady was born?

D.S., South Bend, Indiana

Don was born in San Diego, California,
on June 8, 1944.

/5 Dan Blocker married and does he
have any children?

B.D., Salem, Virginia

Dan is married to the former Dolphia
Parker and they have four children — Den-
nis, 4; David, 6; twin girls Debra and
Danny, 8.

Are Peter Graves and James Arness
brothers?

R.B., North East, Pennsylvania

Yes, they are. The real family name is
Aurness.

A Versatile Talent

/ would like to know something about
the actress, Patricia Barry.

M.M., Chicago, Illinois

A wonderful combination of beauty,
talent and brains — that's lovely Patricia
Barry, an accomplished actress who re-
peatedly snags guest-star roles in TV
shows such as 77 Sunset Strip, Hawaiian
Eye, Maverick, Surf Side 6 and Hong Kong.
. . . Born in Davenport, Iowa, brown-eyed
Pat attended Stephens College before go-
ing to Hollywood. She appeared in several
films there and, since then, has gone on
to summer stock, Broadway plays and TV.
. . . Pat married Philip Barry, son of the
well-known playwright, in 1950. Their
daughter, Miranda Robin, was born in
1951 and another daughter, Stephanie Ann
Thankful, was born in 1957. . . . Pat's
favorite hobby is tennis, but she has to
play indoors because her fair complexion
is the sort that "burns, freckles and peels
miserably." She also loves to cook.

Calling All Fans

The following fan clubs invite new mem-
bers. If you are interested, write to ad-
dress given — not to TV Radio Mirror.

McGuire Sisters Fan Club, Linda Moore,
157 W. 57th St., New York 19, N. Y.

Ronnie Hawkins Fan Club, Sharon
Cooper, 16 Norlong Blvd., Toronto, Ont.

Mario Thomas Fan Club, Polly Busing-
er, 164 E. 226th St., Euclid 23, Ohio.

Patricia Barry

Warren Beatty

We'll answer questions about radio and
TV in this column, provided they are of
general interest. Write to Information
Booth, TV Radio Mirror, 205 E. 42nd
St., New York 17, N. Y. Attach this
box, specifying whether it concerns ra-
dio or TV. Sorry, no personal answers.

Fiesta Time in TRUTH OR

Planeload of top Hollywood talent sets off for Truth Or Conseauences, to
join in the holiday parade headed by the program's creator, Ralph Edwards.

It's always fiesta when Truth Or Consequences comes to Truth
Or Consequences, and this year marked the program's twelfth
annual trip to its namesake-town in New Mexico. As always, the
hospitality was Western-style — with wardrobes to match. Among
the guests from Hollywood: Jayne Mansfield, Anita Gordon, actor
Peter Graves, comedian Pat Buttram, "Smiling" Jack Smith, pianist
Buddy Pepper, guitarist Billy Strange and a host of others who
shared a gala weekend which included a parade, jeep derby, fiddlers'
contest, dance, regatta, entertainment at children's hospital and high
school— where program-host Bob Barker was named "honorary
mayor." Introduced to the cheering crowd by actual Mayor Robert
Holcomb as "Bob Baker," our hair-trigger hero responded: "That's
the story of my life, Mayor Hokuml"

Truth Or Consequences, popular show created and produced by Ralph Edwards, is
seen on NBC-TV, Monday through Friday, 12 noon EDT, under multiple sponsorship.

Picture story of a fun -packed
weekend in the town named after
the long-time favorite TV show

Ralph on horseback, Jayne Mansfield with
hubby Mickey Hargitay, little Jayne Marie.

Young parade-watchers rush from curb to get

ONSEQUENCES, New Mexico

Bob Barker, emcee of TV's Tnttli Or Consequences, is hailed by citizens of show's namesake. Resort town was once known
as Hot Springs — even before that, its mineral baths were patronized by such native notables as Apache chief Seronimo!

he Mansfield autograph

^B* — -

Carnations for all: Anita Gordon sings at the Short story: Ralph interviews Billy

Carrie Tingley Hospital for Crippled Children. Barty — biggest tiny man in show biz.

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The rib-tickling success saga
of The Three Stooges

Releasing July 4 is movie "Snow White & The Three Stooges,"
in which the zany trio plays actual acting roles, along with
stunts. Above with star Carol Heiss and co-player Edson Stroll.
At right, the boys in a typical "Stooge" sequence from one of
their old two-reelers, now a joy to young and old on television.

by LEON RICE

lAf ith the release of "Snow White & the Three
WW Stooges" by 20th Century-Fox, the Stooges will
have completed one of the most fantastic come-backs
of history. Their latest full-length movie, in a career of
twenty-five years in Hollywood, cost $3,500,000 and co-
stars the Stooges with Carol Heiss, five times world and
Olympic figure-skating champion. It is based more or
less on the Grimms' fairy tale, with the added contribu-
tion of the unique gifts of the Three Stooges— consisting
of mayhem, disaster and lots of laughs. All but one of
the other movies made by The Three Stooges— 209 of
them — were short two-reelers.

After a twenty-five-year stay in show business, the
career of these zany performers almost came to an end
in December, 1957. They were released from their
contract with Columbia Pictures. This contract had run
for twenty-five years. Peak acceptance of their short-
subject movies came during the thirties, when they
were top-featured on theater marquees, even though
they were supposed to be the south end of the double
bill. The public couldn't get enough of their nutty
doings and they made as many as ten pictures a year
Shortly after World War II, their popularity began to
fade and, by the end of 1957, the wise old studio heads
decided that the Stooges had thrown their last pie

In 1958,they started off on a personal -appearance tour
that didn t seem to get anywhere. Meanwhile, back at
the ranch (Columbia Pictures-that is), some unsung
genius poking about in the film vaults came to a shelf
covered with dust, piled high with a mountain of film
and marked "3 Stooges," and said to himself "There
must be gold in them thar hills." He suggested to Screen
Gems, the television arm of Columbia Pictures, that the
films might sell to local television stations around the

country as a basis for children's shows, since their two-
reel length made them ideal for a half-hour TV pro-
jection with commercials. The suggestion was the most
profitable since the Indians said "Soldi" when they were
offered $24 for Manhattan Island. Since The Three
Stooges themselves had no residual rights, they don't get
a cent out of TV use of these movies. The first batch of
pictures was turned loose to television on seventy
stations during September, 1958.

At the time, the Stooges' night-club and personal-
appearance tour was going from bad to worse. Not yet
realizing what TV was doing for them, they were dis-
appointed at their thin local audiences. As it turned
out later, it wasn't that they didn't have appeal, it was
just that their audience was the wrong age. By Decem-
ber, 1958, they were just about at the end of their tour
and the end of their rope. They were appearing at a

In a recent appearance on CBS-TV's Ed Sullivan Show, The Stooges greeted the audience in business suits. We
introduce — sans pie in the face — the entire team, around Ed: Moe Howard, Larry Fine, left; Joe De Rita, right.

night club in Pittsburgh. The audiences were even
sparser than usual. The Stooges had about decided to
call it quits. Then, on a hunch, they decided to do a
matinee. They knew vaguely that their old pictures
were successful on TV, but not how successful. They
were soon to find out. When the night-club doors were
opened that afternoon, the joint was immediately inun-
dated by a flood of children. Kids were hanging from
the rafters, stacked on the bar (which sold only milk),
sitting on the floor, and fining the walls.

Show-business history was made that afternoon. Stars
were reborn. Instead of being cancelled, The Three
Stooges' booking was extended for a week. They haven't
stopped working since. They've been doing major tele-
vision appearances, making records and major movie
features. Their box-office draw in night clubs has a
unique measure. Other performers talk of volume of
liquor sold or how many thousands of dollars were
taken in in cover charges in the mink -fined cellars.
The Three Stooges measure their success in ham-
burgers sold.

Among them, the trio is now 162 years old. Moe is 57,
Larry is 54 and Joe is 51. Moe Howard and Larry Fine
are two of the original Three Stooges, but Joe De Rita
joined them comparatively recently, in 1958. The
original third Stooge was Moe Howard's brother Shemp
and three other "third" Stooges have been part of the
team at one time or another.

The act originated as comic relief with the Ted Healy
band in 1922 and continued with great success until the

Stooges split off from Healy to go their own way in
1932. Like all Stooge activities, they started off with a
bang. They got themselves promptly and simultaneously
signed by Columbia and Universal-International. Moe
Howard made the deal for them with Columbia, while
Larry — unaware of this — was signing them to a long-
term deal at Universal. After the smoke cleared away,
they stayed with Columbia on the basis that that con-
tract was signed three hours before the one at Universal.

Time has played a funny trick on the Stooges. They
still do the same routines they've always done. But
their audience now includes the adults who saw them
in movie theaters, as well as the brand-new audience
of children from the age of three up. Moe Howard re-
cently said, "Now, little girls three years old throw their
arms around my neck and say 'I love you.' This is some-
thing new for me. I even remember when my son used
to scare my niece by showing her a picture of me in
costume. But today people sympathize more and more
with the misunderstood guy." Actually, in the average
Stooge comedy routine, there is probably less violence
than in the average TV Western or detective show, and
they are a lot funnier, besides. As Moe Howard says,
"Kids don't seem to mind seeing somebody get hit over
the head in our pictures, because they know and can
see that same person get right up."

With their new movie, The Three Stooges are break-
ing into new acting territory. They portray characters,
as well as doing comedy routines. For a 162-year-old
group, they seem to promise to go on forever.

Lots of guests, smiles and chatter at Emmy nominations party held in the Beverly
Hills Hotel. From top to bottom, at left — Barbara Hale, Don Knotts; Raymond
Burr; Peter Falk, Charles Bronson. Above, Loretta Young, Ed Wynn, Peter Falk.

All in the Family: Sentimental was
the word for Nanette Fabray's June 30
show. Her two-year-old son Jaime and
seven-year-old stepson Brian appeared
with her while writer-husband Ranald
MacDougall, creator of the show, played
nurse and chauffeur for the boys. The
youngsters took to the cameras like
pros, and Nan had a hard time explain-
ing to little Jaime that his part in the
"Ballet-Oop" segment was only a treat,
not a permanent arrangement. Nan was
presented by Ranald with a beautiful
new pair of ballet slippers. "We know
how much you love your old ones, said
Ranald, "but it's time to give them a
rest." The old pair had been worn by
Nan since she was a teenager. "We had
them bronzed and they occupy an hon-
ored place next to my Emmys," she
sighed. "I hated to part with them, but
I've already spent over $100 to keep
them in repair, and the shoemaker told

by Eunice Field

me there was nothing more he could do
for them."

Bogie Man Hits Birdie: Bob Wilke
— who won entertainment world's golf
crown last year, and tied for second
with Gordon MacRae this year — was
asked by Tony Curtis, one of the long
list of also-rans, how he got to be so
skillful on the greens. "I spend my
weekends dropping putts instead of
people," grinned Bob. He is rated as
one of the most effective villains in
show business and, in his roles of the
heavy, has bettered such heroes as Burt
Lancaster, Kirk Douglas, Robert Stack
and Rock Hudson. "But it's on the golf
course where I get a bang out of beat-
ing all the good guys — especially my
pal, Jim Garner." Bob switched from
stuntman to actor in 1936 "because it's
safer than falling in holes." He now
averages four features and twenty-five
TV shows a year — and passes out a

business card which reads, "Kill and
Be Killed."

Hands of Gold, Feet of Clay: Art
Linkletter does seem to have the Midas
touch. His Link Research and Develop-
ment Corp. has literally coined money
out of projects ranging from hula hoops
to million-dollar oil wells. Now Art
has decided to go into a new field, by
way of the Linkletter -Totten Dance
Studios. His interest in dance schools
stems, of course, from his love of chil-
dren. "I believe in giving kids this sort
of training," he says. "When I was fif-
teen, I was so shy and skinny, I was
afraid to ask a girl for a date. One of
my pals talked me into taking dance
lessons and I became the best dancer in
my class — and did all right with the
girls, too." But if Art thinks of himself
as being some shakes on the dance
floor, his teen daughter Diane has a
somewhat different version. She put

Radiantly happy after their
May 20th wedding — David
Nelson and actress June Blair.

Lots of talent in this family: Nanette
Fabray's family — stepson Brian, 7, and
son Jaime, 2 — joined her in TV segment.

Chubby Checker's big hit on the phono-
graph one night and Art gallantly asked
her to tread the light fantastic. When
he went into what he fondly thought
was a "mean jitterbug," Diane was ap-
palled. "My goodness, Daddy . . . that
stuff went out with high-button shoes."
Art protested, "I thought I got around
the floor pretty good." Came the retort,
"The trouble is, Daddy, when you get
around the floor, it seems to come out
square."

Brunch for the Bunch: The Buddy
Hacketts gave one of their Sunday
brunches and, when Jack Benny ar-
rived, he found the place jumping with
40 adults and 15 children — but no Bud-
dy Hackett. "Oh, he'll be here in a few
minutes," Mrs. Hackett blithely ex-
plained. "He's in Denver." And he was.
Although working in "The Music Man"
at Warner Bros., Buddy still found
time to fly to Colorado for a Saturday-

night charity appearance. Mrs. Hackett
was right. Within ten minutes, Buddy
had joined the party and was munching
heartily. Since these Sunday get-to-
gethers usually go on from 11 a.m. to
11 p.m., Buddy said, "If this keeps up,
I'll be the only actor in the business
who spends $10,000 a year on lox." Re-
plied Jack, "That's the most frightening
thought I've heard in many a month."
No "Emmy" to "Emmy": "We can
be sure of one thing," flared a top TV
director — who naturally asked for ano-
nymity— "this show will never win an
Emmy!" He was referring to TV's "big
night of the year" — an evening which
ran a poor second, entertainment-wise
and rating-wise, to its big brother Os-
car's earlier show. The fans outside the
Moulin Rouge, site of the Hollywood
end of the broadcast, set the general

apathetic trend of the evening. There
were few of them, and only the arriv-
als of Amanda Blake — easily the most
stunning guest — and of Robert Stack
seemed to stir excitement. Perhaps it
was due to the pall on the town which
had set in, earlier in the day, when
film favorite Gary Cooper had been laid
to rest. Several celebs — including Jack
Benny, a pallbearer at the funeral —
did not attend the broadcast and party.
Don Knotts, at an earlier press party
honoring the nominees, was grateful
for his "best supporting actor" nomi-
nation, but was convinced he wouldn't
win. Barbara Hale — a contender, along
with Abby Dalton, in the same cate-
gory as Don — insisted he had to win
"because you're the funniest man on
television." Andy Griffith, overhearing,
beamed, "That's right, ma'am, he surely

For What's New on the East Coast, See Page 4

WHAT'S NEW ON THE WEST COAST

Kathy Nolan gets welcome-home kiss
from her dad, after a hospital stay.

Golf-pro Bob Wilke gives few hints to
Dennis O'Keefe (I.), Vickie Trickett.

illifJIBgte"i

W ma

Harry Morgan's wives — left, his real
one; right, Cara Williams, TV spouse.

(Continued from preceding page)

is! He's my boy." Andy couldn't have
been happier if he'd won himself . . .
At the same pre-Emmy party, Peter
Falk (in casual attire because he'd had
to rush over from Desilu in his "work"
clothes) was like a fan in his enthusi-
asm and admiration for veterans Loret-
ta Young and Ed Wynn. "I've got your
book," Peter told Loretta. "And when
are you going to write your autobiog-
raphy?" he asked Ed. "I've been talking
it into a tape recorder for years," Ed
revealed, "but I don't seem to have time
to finish it." It was at the reception that
Raymond Burr dropped the bomb that
he'd be leaving Perry Mason because
the series was too great a physical
strain. But a few days later — as Ray
clutched his second "Emmy" — he sang
a different tune, saying it looked like
"things will be worked out." Certainly
no actor is more dedicated to a role
than Ray is to that of the courtroom
hero, and both network and sponsors
will undoubtedly make any concessions
to keep Ray happy and healthy.

Playing the Field: Diane McBain's
toy black poodle goes everywhere with
her and sees life from the depths of
her large handbag. "Coquette" has
been trained not to bark in restau-
rants and other places with the "No
Dogs" sign. What's more, she is dressed
well enough to hold her own in fash-
ionable Chasen's, which caters to the
stars. When Diane puts on her mist-
mink coat, a miniature matching one
is worn by Coquette. ... In trying to
kick the cigarette habit, Jonathan Win-
ters has gone the whole route — no al-
cohol, and a very strict diet that bans
potatoes, butter, sugar and other
goodies. "The amazing thing," chuckles
Jonathan, "is that I'm having as much
fun as ever." . . . On his recent Car-
ibbean tour, Bob Hope presented a
colonel with a pair of cuff links — he
thought! By some mistake, the box
contained perfume. Two weeks later,
he got this note: "Many thanks for
the perfume. Now, instead of saluting,
my men wave at me." . . . Pint-sized
Billy Barty was asked if he thought
all people should be midgets. "Oh,
well," said the little comic. "I believe
every man should shrink for himself."
And, apropos of size, comes this from
Robert Ryan: "Who says TV hasn't
grown in the past ten years? I can re-
member owning a seven-inch set." . . .
The David Janssens bought a Beverly
Hills home in the six-figure bracket.
But they are furnishing simply and
slowly. They have already startled their
friends with two old-new ideas — plain
black telephones and a pool that is
neither heart-, kidney- nor piano-
shaped — just plain, simple, old-fash-
ioned rectangular. . . . Jimmy Durante
has Bob Hope and Garry Moore lined

up for his August 9 special. He's one
of the few stars who stays out of the
producing end of the show, saying,
"Dey knows what dey's doin', I knows
what I'm doin'." He and his act — includ-
ing Eddie Jackson and Sonny King —
open at the Las Vegas Desert Inn in
September, then on the road for six
months. The Schnoz's big dream is to
present his night-club show intact on
TV. . . . Las Vegas showgirl Dotty Har-
mony, linked romantically in the past
with Tommy Sands and Elvis Presley,
is seeing a lot of new star Bob (Brent
Maverick) Colbert. When Bob opened
his new restaurant, The Corner, Dotty
played hostess to the young Warner
Bros. crowd. . . . Bill Ballance, KFWB
disc jockey, has come up with a popular
new gimmick — one the listeners wish
would spread. People send him their
bills and he pulls a few of them from
his hat each day and pays them.

Raisins Anyone? Nita Talbot, of
The Jim Backus Show, recalls that,
when she and muscle-man Steve
Reeves were drama students in New
York, some years ago, he invariably
lunched on yogurt, cottage cheese and
raisins. Now Jim Backus is trying the
same. "I figure it was the iron in the
raisins that built Steve up to play the
role of 'Hercules'," says Jim, "so maybe
I can still satisfy my frustrated desire
to be a wrestler." . . . People and Plans:
Peter Breck, hero in the Warner Bros,
feature, "Lad — A Dog," put one of his
own three German Shepherds to work
in the film. "Cassius" did a bit in a
dog-show sequence — "and that," adds
Peter, "makes him a professional, so I
can deduct his upkeep from my income
tax." . . . Hank Mancini, Peter Gunn
composer, has written a song entitled
"The Gist of It," dedicated to the show's
director Bob Gist. Incidentally, Craig
Stevens — Pete himself — doesn't seem
at all unhappy the show's been can-
celled. He and "the kid" (his nickname
for wife Alexis Smith) plan a long rest
down Acapulco way.

Welcome Return: Kathy Nolan had
recuperated enough from her serious
back surgery (suffered when she was
thrown from a horse on The Real Mc-
Coys set) to work in the final three
shows of the season, but it will be
months before she's back to full
strength again. During The Real Mc-
Coys vacation, she plans to finish writ-
ing personal notes to all the people who
sent get-well cards while she was in
the hospital. (She stopped counting at
3,000.) "I'm trying to send personal
notes to everyone," she explains, "but
I hope those that don't get them right
away will understand. I can't sit too
long at the typewriter at one stretch,
so can only get out a few thank you's
a day."

LOOK IS IYER

New boys and girls heading
for music-space in 1961

by HELEN BOLSTAD

iter the last disc is spun, after the last sad, sweet song fades away into the summer
night — what will the experts say was the news about pop music in 1961? In the opinion
of the editors of TV Radio Mirror, there's no doubt about it: The girls are back!
We present for you on the following pages a charming, talented group of faces which
prove to any masculine reader the eternal truth from the "South Pacific" show-stopper,
"There Is Nothing Like a Dame." But don't worry, girts, we've also assembled for you
a deft selection of young male charmers whose music has made the summer memorable.
In a way, all 22 — the total number of singles and groups — are beginners. To each of
them, we say, "Good luck." May the rest of 1961 and all the future reward you. A-Okay?

See Following Pages

America is the land of opportunity for Ann-Margret.
She was born in Stockholm, April 28, 1941. Her parents,
Gustave and Anna Olson, brought her to northern Illinois
when she was five years old. They are now American
citizens.

Even before she left Sweden, Ann-Margret had started
to dance and sing, but there her parents had no money
for formal lessons. Here, her mother worked two days a
week to help pay for ballet, piano and voice training.
Ann-Margret says, "I was in my teens before I realized
what sacrifices my parents made for me."

She went to New Trier High School, Winnetka, Illinois,
sang with a band during the summer, then studied for
a year at Northwestern University. At Christmas, she
went on a U.S.O. tour, and when summer vacation came
again, she and three other N.U. students booked into a
Las Vegas hotel. Or let's say they thought they did. When
they arrived, there was no job. They went on to Holly- .
wood and were down to their last three dollars before
they found a booking. Later, Las Vegas proved lucky.
When Ann-Margret and "The Subtletones" played the

Dunes Hotel, George Burns saw her and hired her as
the girl singer for his Sahara Hotel stint. The Jack Bennys
arrived to spend Christmas with the Burnses, and Benny
invited her to be on his television show. With two such
great stars aiding her, Ann-Margret is moving ahead
fast. In addition to her RCA Victor contract, she will
also be in pictures at 20th Century-Fox.

OU&eMcCo£

Young Charlie McCoy is another of the new singers
who has both background and a beat. The beat is a
heritage from his native hills in West Virginia, but that
background of solid musical knowledge is Charlie's
own achievement.

Born in Oak Hill, West Virginia, March 28, 1941, the
son of Mr. and Mrs. Ray H. McCoy, he grew up in Miami
and attended Southwest High School. "They were doing
some experimental teaching of music. I soaked up all I
could get. When I entered the University of Miami, they
put me into advanced classes. I've taken as much music
theory as they offered and I also studied everything
from the classics to New Orleans jazz."

He paid his way at school by having a band which
played disk-jockey hops, high-school proms and club
dates. He plays piano, guitar, bass, sax, harmonica and
drums, plus his favorite, the electric guitar.

Yet with all his learning, his heritage defined his
field. "Country-and-Western music and rhythm-and-blues
are my favorites." The Old South Jamboree, a Miami
square dance, was his springboard; Nashville, his ob-
jective. With two other young performer- writers who
record as Kent Westberry and Snuffy, he wrote "Cherry
Berry Wine," his first hit. His second Cadence record
showed his versatility. With Archie Bleyer's band, he
played harmonica for the theme from "Hippodrome"
backed with "Mississippi Blues." Currently, until they
find their girls and settle down, Charlie and his band
share an apartment in Nashville.

tff!

LOOK US OVER

■Ml.tfeo

f&Jbu^C^k

During a TV Radio Mirror interview, singer Eddy
Arnold contrasted the farm child's isolation in the past
with today's easy communication by saying, "I'm the
father who gets a kick out of seeing my daughter talk
on the phone for hours. In my day, if I wanted to speak
to a friend, I walked."

That observation may have had something to do with
the choice of a song for the recording debut of his young
protege, Robin Clark. Her first record for Capitol is
"Daddy, Daddy, I Wanna Get a Phone in My Room."

Freckle-faced Robin was born eleven years ago on the
campus of the University of Alabama, where both her
parents were students. Her father is now district sales
manager for a trucking firm and the family lives in a
suburb of Nashville. In that music-centered city, Robin's
singing and dancing has won her the admiration of such
stars as Andy Griffith, Ferlin Husky, Minnie Pearl and
others of the Grand Ole Opry crew. Robin has done more
than 250 performances on television shows and at civic
affairs. At the annual Policeman's Benefit, which has
been the springboard for such stars as Pat Boone, she
has, for the past two years, stolen the show with her act.

Robin is an A student in school and is active in the
4-H Club and Junior Red Cross.

A subway token, plus his own talent, paid Johnny
Maestro's admission into recording. With a group of
happy-hearted friends, he was singing over the clatter of
subway wheels. A man in the music business heard them
and, on the spot, arranged their first audition. As The
Crests, they had "Sixteen Candles" and a number of
other hits. Last Spring Johnny went solo and put his
Coed disc high up on the charts.

Johnny was born in New York on May 7, 1939, the

son of Sal and Grace Mastrangelo. They now live
near Midland Beach, Staten Island. Johnny, who loves
animals, stretches the walls a bit with the pets he brings
home. Included have been a monkey, baby chicks, two
huge tanks of tropical fish, and, of course, a dog.

Johnny, a self-taught musician, plays guitar and piano.
He was graduated from Charles Evans Hughes High
School and studied accounting at City College. His
mother says, "He has always had so much ambition.

//f.

LOOK US OVER

Mornings, he worked in an office. Afternoons, he went
to class. And evenings, he sang. It got to be too much.
He quit school because his music came first."

Maestro is an eager amateur photographer. When
younger brother Ronnie's team won a football champion-
ship last fall, Johnny made action shots of the game. On
tour, when fans crowd the stage door to take his picture,
he turns the tables and takes pictures of them.

The Brill Building on Broadway is the Tin Pan Alley
of modern pop music, and the New Jersey Palisades,
across the Hudson River, can certainly qualify as the
cradle of a lot of talent. Within a few miles of each other
live — or have lived — Paul Anka, Connie Francis, Bobby
Darin, Pat Boone, Frank Sinatra and Bob Crewe. A

■

recent young hopeful to emerge from this area is Linda
Scott, who got her first hit on the Canadian American
label with "I've Told Every Little Star."

Linda was born at Teaneck, New Jersey, on June 1,
1945, the daughter of Raymond and Lois Sampson. Her
father is law-trained and works as trust officer at a
bank, a fact which Linda appreciates. "I don't have to
worry about contracts and things like that Daddy knows
all abdut them."

Soon to be a junior in high school, Linda has been
singing since the age of four and has worked profession-
ally for a year. Guided by her coach, Mrs. Jane White,
she cut her first record for a major company but "nothing
happened," so at option time she transferred to Canadian
American.

She is five-feet-three, has dark brown hair and green
eyes. She has studied piano and writes songs. She loves
to bake pies and also loves to dance. Like many a teen-
ager, she has a running discussion with her parents about
going steady and says, "Right now, I'm going out with
lots of different boys."

**v

"Tk& QIuaMga

A classmate was the talent scout who set up the first
recording date for The Shirelles, a group of four girls
who have scored top hits with "This Is Dedicated to the
One I Love," "Will You Love Me Tomorrow," and "To-
night's the Night"

Shirley Jones, now 18, sang the solo for "Will You
Love Me" and composed "Tonight." Beverly Lee is 18,
Micki Harris is 19. Doris Kenner, also 18, sang the lead
for "Dedicated."

They met while in junior high school at Passaic, New
Jersey. Afternoons, after school, they got together to
sing, taught themselves harmony, practiced new sounds
and created original songs. While in high school, they
entered a talent contest. Needing a group name, they
derived "The Shirelles" from their leader's name, Shirley.
Their classmate Mary Jane Greenberg heard them and
told her mother. Mother is Mrs. Florence Greenberg,
president of Scepter Records. Mrs. Greenberg coached
them, recorded them and now manages their careers.

The girls are close friends with similar interests. They
like to bowl, ride horseback and watch TV. Most of all,
they enjoy music. While they like the rock 'n' roll which
brought them fame, they always seek to improve them-
selves and hope to widen their range to include pops,
show tunes and jazz. Their personal favorites include
Ella Fitzgerald, Gloria Lynne, Frank Sinatra, Jackie
Wilson, Roy Hamilton and Little Willie John.

IrajuJc &]cu*l

If you had to choose between a full scholarship to
study engineering at Columbia University or gamble you
could gain fame as a singer, what would you do?

Paul Evans, after a year at Columbia, bet on his mu-
sical talents and gave himself three years to score. His

tff.

LOOK OS OVER

first record, cut for a top company, bombed. Songs he
wrote for other artists carried him over, but his self-
allotted time was almost gone when his present man-
ager, Milt Schnapf, heard Paul's demonstration record
of "Seven Little Girls Sitting in the Back Seat." Carlton
Records accepted both singer and song. Six weeks later, it
was one of the nation's top ten tunes.

Paul was born in Jamaica, Long Island, March 5, 1938,
the son of Nathan and Leah Rapport. The family often
staged living-room shows. His father, a commercial
artist, played the flute. His mother had been a profession-
al pianist. His sister, Estelle, had already gained recog-
nition as a folk singer. Paul was eight when he started
to learn to play guitar and sing. Regarded as one of today's
most versatile performers, Paul also writes and produces
TV commercials and hopes to enter motion pictures.

Gene Pitney's first fans were not the young people who
now storm stage doors to ask for his autograph. They
were, instead, top recording artists. And the signature
they valued was at the top of a sheet of music, "by Gene
Pitney." His tunes were recorded by Steve Lawrence,
Billy Bland, Clyde McPhatter, Roy Orbison and others.

Dark-haired, hazel-eyed Gene lives in Connecticut.
Born February 17, 1941, the son of Harold and Anne
Pitney, he was graduated from high school with top
honors. He plays piano, guitar and drums and sang with
his school glee club. "I used to carry the first and second
tenor sections, but could drop down to first bass."

This three-and-one-half octave range caught the at-
tention of New York music publisher Aaron Schroeder,
who himself wrote many of Presley's hits. With Aaron
as his manager, Gene's first Musicor recording, "I Wanna
Love My Life Away," went into the charts. His second
illustrated Gene's wide range. "Louisiana Mama" is
what Gene calls "a real rocker." Its flip side, a warm
ballad, "Take Me Tonight," is based on Tchaikovsky's
Sixth Symphony. Singing Dimitri Tiomkin's theme for the
film, "Town Without Pity," introduced him to Hollywood.

Gene McDaniels was lullabied with gospel songs and
the sound rings out exultantly again as he tells the
story of creation in his hit song, "A Hundred Pounds of
Clay." The son of the Rev. Mr. B. T. and Mrs. McDaniels,
Gene was born in Kansas City, Kansas, February 12, 1935.

He grew up in Omaha, where he attended Technical
High School, Omaha University, the University of
Nebraska and Omaha Conservatory of Music. He played
saxophone in his school orchestra and, always, he sang.
He joined his first gospel singing group at the age of
thirteen and later formed several groups of his own

which toured the country, singing everything from gospel
to jazz. Frank Sinatra and Ella Fitzgerald became his
idols. He says, "I would sit for hours by the phonograph
listening to these great artists and their phrasing of mu-
sical statements. It was a real education."

Gene tops six feet in height and weighs 156 pounds.
His primary interests are sports cars and basketball.

His first recordings for Liberty Records were done in
jazz style, but his repertoire also includes gospel, folk
music, spirituals and pop tunes. Friends say that he brings
to song the same sincerity which his father brought to
preaching. To him, the meaning is important and his great
aim is to communicate with his audience.

^^MmmJ(

exwi

When two pretty and gifted young women joined
forces, the result was a hit, "Please Love Me Forever,"
for newly-organized Valmor Records.

The first of the young beauties is twenty-seven-year-
old Jody Cameron, whom record men call "the girl with
a golden ear," because of her ability to predict which
numbers have the emotional impact to become hits. Jody,
who is a great-grandniece of the Swedish Nightingale,
Jenny Lind, never considered making anything but mu-
sic her life's work. She's been a singer, a disc jockey
and a music librarian. Always, she has written songs.
Last year, with her husband, Eugene Malis, she organized
Valmor Records and is one of the few women to head an
artists and repertoire department

Cathy Jean, who sings with a group called The
Roommates, is Jody's discovery. She was born Septem-
ber 8, 1945, and attends Lincoln High School in Brooklyn.
She has studied both pop and classical music. She plays
piano, guitar and flute and has been singing since she
was seven years old. Jody says, "This is a voice with
both range and volume. She is so powerful that she
seldom needs a mike on live performances."

Jody and Eugene are taking an active part in planning
Cathy Jean's future. He says, "The timetable is worked
out. She's doing a few record hops and theater appear-
ances now, but she also has plenty of time to study,
dance and skate and enjoy being a young girl."

15okkc/l/e£

Tragedy and tension prefaced Bobby Vee's entry into
show business. The plane carrying singers Buddy Holly,
Ritchie Valens and the Big Bopper from an Iowa en-
gagement to far-north Moorhead, Minnesota, crashed.
The call went out for local talent to fill in the program
of the scheduled show. From nearby Fargo, North
Dakota, Bobby Vee and The Shadows responded.

Sixteen-year-old Bobby started out as a guitar-playing
tag-along kid brother. Bill Veline, Bobby's brother, and
two other older boys had formed a group. They weren't
too happy when Bobby insisted on chiming in, but were
won over when he proved their star attraction.

After the Moorhead show, Scott Beach, now at WCCO,
Minneapolis-St. Paul, took over as their musical director
and helped the boys polish their routines. Last June, in
Minneapolis, Bobby made his first recording. Liberty
Records bought the master. In January, he flew to Holly-
wood to record again. His hits: "Rubber Ball," "Devil or
Angel," "Stayin' In," and "More Than I Can Say."

iQriJ^U&jUHfit

School-talent shows started Kathy Young toward her
recording successes. Born in Santa Ana, California,
October 21, 1945, she now lives at Long Beach. She
enjoyed singing with her grade-school glee club, but

'Lvf

tff

LOOK US OVER

lost her nerve as a performer when she entered Hamilton
Junior High. Then, when she was in the eighth grade, a
close friend put in her name for a talent show. Kathy won.

During the summer vacation, her mother took Kathy
and fellow members of a civic club to Pacific Ocean Park
to see the Wink Martindale program. There she met Jim
Lee, Indigo Records artists-and-repertoire man. She asked
him how she might make a record. Lee first thought it a
joke, but Kathy 's genuine enthusiasm led him to give
her an appointment for an audition.

Because of a small accident, Kathy had to postpone
the date. It proved to be a lucky fall for, while she was
recuperating, Al Anthony, program director of KAFY
in Bakersfield, brought to Lee's attention a new song,
"A Thousand Stars," suggesting it as a follow-up for
The Innocents' hit, "Honest I Do." Lee, feeling the song
needed a girl's voice, had Kathy try it. Within a few
weeks, it was a hit. Her recent "Happy Birthday Blues"
shows signs of becoming a standard.

One of New York's blizzards last winter gave Ben E.
King his first big solo hit, "Spanish Harlem." He was then
lead singer with The Drifters, who were scheduled to
cut some new sides at the Atlantic-Atco studios. As the
storm worsened and traffic snarled, King battled his way
into the studio, but the rest of the group never made it.
Recording personnel decided to record Ben alone.

Ben began singing while working in his father's
luncheonette in New York City. His vocal group first
was called The Crowns, and they later became The
Drifters. They scored five straight hits with "Save the
Last Dance for Me," "I Count the Tears," "There Goes
My Baby," "This Magic Moment," and "Dance with Me."
Ben cares more about song-writing than singing, and
"There Goes My Baby" was his own tune. However, he
made every member in the group a partner in royalties.

SomjiIaa <Steu>otot

Sandy Stewart has yet to see one of her United Artists
recordings reach the top of the hit charts, but it should
happen soon. During her first appearance on The Ed
Sullivan Show (her next one is September 19), Mr.
Sullivan called her "one Of the most gifted young sing-
ers I have heard." Viewers' mail seconded his motion.
Showmen said it with bookings. Movie companies made
offers. Sjiid happy Sandy, "At last. It seems I've worked
for this forever."

Young as she is, Sandy has many years of experience.
The daughter of Sam and Sally Galitz, she was born in
Philadelphia, July 10, 1940, and sang as soon as she could
talk. Yet when, at ten, she auditioned for a famed chil-
dren's show, she was told, "Go home, little girl. You have
no talent." Spunky Sandy and her mother then marched
over to WPEN's Juvenile Varieties and Sandy became a
popular performer. At the age of fifteen, she moved to
New York and was booked on many programs. For two
years she was on Galen Drake's radio show and also ap-
peared on Garry Moore's daytime show on CBS-TV.

<£&*&

Although American artists have long evoked fanatical
devotion from Europeans, the only foreign artist to score
a million-seller here was Italy's Domenico Modugno with
"Volare." Today, he has been equaled by Germany's

Bert Kaempfert and Sweden's Jorgen Ingman, plus the
pretty little star who personifies both trends, Lolita. Her
"Sailor, Your Home Is the Sea," released here by Kapp
Records, hit Number One on the charts.

Lolita was born in Vienna, studied in secretarial school
and also taught kindergarten. She gained her foothold
in show business in a way familiar to young American
artists. She entertained at benefits and worked with
amateur theater groups.

A friendly, home-loving girl whose favorite hobby
is cooking, Lolita tells how she came to have an exotic
stage name. "My producers found it for me. My real
name is Ditta. Now, I'm known by this name, and people
often ask me with amazement, 'Are you Lolita?' They
expect someone worldly and foreign looking."

Satire and comedy are the big challenges of the enter-
tainment world and, when you try to mix them with pop
music, there are more flops than successes. One group
which has succeeded is The Playmates, whose "Little
Miss Stuckup" on Roulette Records was preceded by
"Jo Ann," "Don't Go Home," "Beep, Beep," and "What
Is Love." They are also important night-club performers.

All three grew up in Waterbury, Connecticut, met
when they joined a dance band at Crosby High School,
studied at Marietta College in Ohio, then transferred to
the University of Connecticut, where they worked up
their act playing at fraternity parties.

Mf.

LOOK US OVER

Morey Carr, whose powerful voice creates the texture
of The Playmates' vocal sound, plays bass and is the
funniest funny man in the group.

Chic Hetti, arranger and pianist, comes from a musical
family and was the first to try singing, as well as instru-
mental performance. He collects records and sports cars.

Donny Conn, the drummer, was, as a child, an angelic
choir boy and also the mischief who broke up many
a school play with an impertinent ad-lib. He writes most
of the material for their acts and records.

OTtOAtJe G^oJxi

Vibrant-voiced Frank Gari insists that, before getting
his first hit, "Utopia," he had more turndowns than any
other young singer in the business.

Born in New York, April 1, 1942, the son of Frank and
Gertrude Garofalo, he was a junior in the Paramus, New
Jersey high school when he first took stock and asked
himself, "What am I doing with my life? I've always
been crazy about show business. I'd better get on with it."

Fortified only by high-school play experience, he
boarded a bus for Times Square, bought a professional
show-business newspaper, saw an audition notice for a
singer and applied. "They weren't taking any unknown
singers," he recalls. "I went home disappointed:" The next
week, he repeated his expedition, saw the same com-
pany wanted an actor. He says, "It was the same story.
The third week, they wanted a dancer. When I showed
up that time, the man said to me, 'Isn't there anything
you can't do?' He gave me a script and sent me down
to a coffee shop to audition for the producer."

The producer "hired" Frank — if you can call a fee of
a hundred dollars, for more than a month of work, being
hired.

Frank says, "It wasn't until I met my manager, Sy Mus-
kin, and sang 'Utopia' for Crusade that my luck turned.
Or maybe I had just learned enough."

With "Lullaby of Love" following it onto the charts,
important bookings are now coming Frank's way.

yaPifc

' "H\

^K****h

^^ »-— *»*r"" Mr

Music has always been a way of life for eighteen-
year-old Aretha Franklin. Her father, a minister, moved
his family from Memphis to Buffalo. There, at the age of
eight, Aretha first sang with his New Bethel Baptist
Church choir. In Detroit, her present home, she made her
debut as a soloist at Sunday services when she was
twelve. She was paid fifteen dollars and promptly spent
it on a pair of roller skates. Later, she recorded with her
father's gospel group and traveled with a choir.

Friends sent her demonstration record of "Today I
Sing the Blues" to John Hammond, Columbia Records'
dean of jazz who discovered Billie Holiday. His reaction
was, "This is the best voice I have heard in twenty years."
Aretha was then on tour with a choir and for a month
he vainly tried to locate her. When she did turn up in
New York, he invited her to Ray Bryant's opening at the

■■■■ft * . mEU

— r

Village Vanguard. From half-past-three until four a.m.,
Aretha, seated at Hammond's table, sang along with the
Bryant trio. The next day, she signed with Columbia.
Recently she had a hit with "Won't Be Long."

Aretha is an expert swimmer, likes skating and horse-
back riding, French clothes, Chopin, Duke Ellington
and "making people happy."

The rivalry of two brothers for the attention of a pretty
girl helped launch Miss Frankie Nolan's recording career.
The elder of the two brothers, versatile Bob Crewe, is a
song writer, singer, actor and artist who recently trans-
ferred his contract to ABC -Paramount Records and re-
leased "La La Loretta," backed with "Swingin' Family
Tree." Bob says of his brother Tommy, "He's the local
Don Juan. He's^always stealing someone's girl — including
some of mine." But the family tree swung in the oppo-
site direction when Tommy brought Frankie to a party
at Bob's Manhattan apartment. Bob reports, "She began
to do improvisations and it just got me. She has voice, she
has talent, and, if you will pardon the expression, a
'rubber' face like Imogene Coca's. She can be divinely
beautiful one minute and, the next, she'll twist her face
into a wild grimace. It's so seldom a girl has real comedy
talent and it is seldom, too, that a girl so young has such
sophistication, poise and timing. Right then I knew I
wanted to have a hand in shaping her career."

Frankie was born Marie Rose Francois at Teaneck,
New Jersey, April 4, 1943, and, in Bob's phrase, "went
to school to a TV set in those great days when Coca and
Sid Caesar were clowning." Since her graduation from
Teaneck high school, she has worked as private secretary
to the vice-president of a large corporation and plans to
hold that job until her entertainment career is established.
Frankie's first recording session featured a comedy song
Bob wrote for her, "I'm a Lonely Little Nut."

Gary Clarke, whose first RCA Victor record was "Green
Finger" and "I Promised Amelia," likes to make people
laugh. In Woodrow Wilson High School, Los Angeles, he
was class clown as well as a star athlete. He draws car-
toons, tells stories, turns a dive into a comic contortion
and still goes back to school to pole-vault with the kids. "I
wobble over the bar and tell them, 'That's the way it
shouldn't be done.' "

Born Clarke L'Amoreaux in Los Angeles, 24 years
ago, he is a handsome six-footer with hazel eyes, brown
hair and a Will Rogers .kind of smile. For two years, he
was actress Connie Stevens' best beau and still sees her.
But, as he says, "Our romance reached a stalemate."

He worked at many an odd job before finding his first
motion picture roles. Last season, on TV, he appeared
in the Michael Shayne series and is now under contract
to Revue Television for a new film series.

His singing career began when he auditioned for "New
Faces of 1928" in the Delta Rhythm Boys trio, he por-
trayed Harry Barris. He likes rhythm-and-blues and "real
swinging spirituals." His favorite song is "St. James In-
firmary Blues." His aim: "I try to sing a song so that
I enjoy it myself. If I feel it's phony, no one else will
believe it, either."

RSfflHB

Morey Carr, whose powerful voice creates ** «
of The Playmates* vocal sound, plays bass ana »
funniest funny man in the group. musical

Chic Hetti, arranger and pianist, comes from am
family and was the first to toy •»«»* M J" "^cars.
mental performance. He collects records and *P°™

Donny Conn, the drummer was, as a child, an ang
choir boy and also the mischief *ho broke UP^J^
a school play with an impertinent ad-lib. He wr.tes m
of the material for their acts and records.

Vibrant-voiced Frank Gari insist* that before getting
his first hit, "Utopia," he had more turndowns than any
other young singer in the business.

Born In New York, April 1, 1942, the son of Frank and
Gertrude Garofalo, he was a junior in the Paramus, New
Jersey high school when he first took stock and asked
himself, "What am I doing with my life? I've always
bin crazy about show business. I'd better get on with it

Fortified only by high-school play experience, he
boarded a bus for Times Square, bought a professional
show-business newspaper, saw an audition notice for a
singer and applied. "They weren't taking any unknown
singers," he recoils. "I went home disappointed: The next
w. , I- he repeated his expedition, saw the same com-
pany wanted an actor. He says, "It was the same story.
The third week, they wanted a dancer. When I showed
up that time, the man said to me, 'Isn't there anything
you can't do?' He gave me a script and sent me down
to a coffee shop to audition for the producer."

The producer "hired" Frank— If you can call a fee of
■ i, M M. I m id dollars, for more than a month of work, being
id

Crank layi, "It wasn't until I met my manager, Sy Mus-
lim, and sung 'Utopia' for Crusade that my luck turned.
Or maybe I had Just learned enough."

Will. "Lullaby of Love" following It onto the charts,
Important bookings are now coming Frank's way.

Music has always been a way of life for eighteen-
year-old Aretha Franklin. Her father, a minister, moved
his family from Memphis to Buffalo. There, at the age ot
eight, Aretha first sang with his New Bethel Baptist
Church choir. In Detroit, her present home, she made tie
debut as a soloist at Sunday services when she w
twelve. She was paid fifteen dollars and Promptl>!.?uy
it on a pair of roller skates. Later, she recorded witn
father's gospel group and traveled with a choir. j

Friends sent her demonstration record of ^°a * ,
Sing the Blues" to John Hammond, Columbia BeC°
dean of jazz who discovered Billie Holiday. His rea :
was, "This is the best voice I have heard in twenty ye ^
Aretha was then on tour with a choir and for a rn
he vainly tried to locate her. When she did turn up
New York, he invited her to Ray Bryant's opening a

Village Vanguard. From half-past-three until four am
Aretha, seated at Hammond's table, sang along with the
Bryant trio. The next day, she signed with Columbia
Recently she had a hit with "Won't Be Long "

Aretha is an expert swimmer, likes skating and horse-
back riding, French clothes, Chopin. Duke Ellington
and making people happy."

The rivalry of two brothers for the attention of a pretty
girl helped launch Miss Frankie Nolan's recording career.
The elder of the two brothers, versatile Bob Crewe, is a
song writer, singer, actor and artist who recently trans-
ferred his contract to ABC-Paramount Records and re-
leased "La La Loretta," backed with "Swingin' Family
Tree." Bob says of his brother Tommy, "He's the local
Don Juan. He's,always stealing someone's girl — including
some of mine." But the family tree swung in the oppo-
site direction when Tommy brought Frankie to a party
at Bob's Manhattan apartment Bob reports, "She began
to do improvisations and it just got me. She has voice, she
has talent, and, if you will pardon the expression, a
'rubber' face like Imogene Coca's. She can be divinely
beautiful one minute and, the next, she'll twist her face
into a wild grimace. It's so seldom a girl has real comedy
talent and it is seldom, too, that a girl so young has such
sophistication, poise and timing. Right then I knew I
wanted to have a hand in shaping her career."

Gary Clarke, whose first RCA Victor record was "Green
Finger" and "I Promised Amelia," likes to make people
laugh. In Woodrow Wilson High School, Los Angeles, he
was class clown as well as a star athlete. He draws car-
toons, tells stories, turns a dive into a comic contortion
and still goes back to school to pole-vault with the kids. "1
wobble over the bar and tell them, 'That's the way it
shouldn't be done."'

Born Clarke L'Amoreaux in Los Angeles, 24 years
ago, he is a handsome six-footer with hazel eyes, brown
hair and a Will Rogers kind of smile. For two years he
was actress Connie Stevens' best beau and still sees her.
But, as he says, "Our romance reached a stalemate

His singing career began when he auditioned for New
Faces of 1928" in the Delta Rhythm Boys trio, he por-
trayed Harry Bams. He likes rhythm-and-blues .and I real
swinging spirituals." His favorite song is St. James in-
firmary Blues." His aim: "I try to sing a song so tha
I enjoy it myself. If I feel it's phony, no one eke will
believe it, either."

was a member of two Roller Derby teams, The Red Devils
and The Chiefs. She gave up skating in favor of singing
when Jimmy Rich and George Simon, the team which
headed Dinah Shore toward stardom, became her coaches.

At one of the small New York night clubs where sh*.
first appeared, Jackie Gleason heard her and was so
impressed that he spoke to friends at Capitol Records
about her. Riding the crest of a new Latin dance craze,
Capitol had Genie cut "La Pachanga" as her first record.
Genie, who loves to dance, gave the song so bright and
interesting a rendition that, within two weeks, she was
invited to appear on six TV bandstand shows and twelve
radio shows.

Genie shares her parents' home in Astoria, likes to
read, listen to records and play a guitar.

When his second hit record, "The Great Snowman" and
"The Pig Latin Song," came out, Bob Liiman insisted he
was the world's most impatient recording artist. Reason:
Disk jockeys, show bookers and motion-picture executives
were clamoring to see him, but Bob still had several weeks
to serve under exclusive contract to the United States
Army.

Bob's first Warner Bros, success was "Let's Think
About Living," and, while sweating out those last Army
hours, he indicated he was doing just that. "First thing
I'm going to do is throw dust on my shoes. The shine
on these boots is enough to kill a man dead." Also, he
intended "to get a look at some of those sassy girls they've
got out in California," and "buy a hammock, find myself
a gang of shade and put on ten pounds. I guess I'm just
naturally a peaceful man."

Peaceful he may be, but lazy he isn't. He has moved
fast since he was born in Nacogdoches, Texas, in 1938.
At high school in Kilgore, Texas, he played baseball well
enough to attract major league scouts. He also raised
his deep voice in a rockabilly beat and won an amateur
contest judged by Johnny Cash, Johnny Horton and
Carl Perkins. Shortly, Louisiana Hayride put him on
television. Also, in Shreveport, he had his own show,
then became a regular on Town Hall Party televised from
Los Angeles. With Army service now completed, he has
motion picture, television and recording dates crowding
his schedule for a very busy future.

^^QMl&'Pt

One of those high-school questionnaires which ask
"What do you hope to be?" helped Genie Pace define
her career. Then a student at Bryant High School, Astoria,
Long Island, Genie, with a flash of foresight, wrote, "I'll
be a singing star and skater." Actually, at that time, she
had never sung professionally and her roller skating
had been limited to some fast turns around a local rink
with a best boyfriend.

But the more she thought about that answer, the more
eager she became to have it come true. Her parents, Mr.
and Mrs. Al Paciello, encouraged both ambitions.

Skating success came first. Turning professional, she

//fi

Dorothy and her assistant, Tom Cursey, need a sixth sense to "protect" the public.

Official title: Senior Editor of ABC's Continuity Acceptance Department.
That's Dorothy Brown, who has to know everything about everything

On set of The Roaring 20's, with Donald May and
Dorothy Provine. Stars and writers are her friends
— even though they don't always see things her way!

by BILL KELSAY

People do not like censors. This is axiomatic, and applies
even more specifically to the talented people who
bring you your daily TV entertainment. And, of all the
TV people who don't like censors, writers are perhaps
the most sensitive.

"It is most difficult to deal with the writer," confesses
Dorothy Brown, who is senior editor of ABC's Continuity
Acceptance Department and probably has had more
experience dealing with TV's and radio's creative talents
than anyone else in her field. "It is better to discuss
modifications with someone who can be impersonal. Asking
a writer to delete a line is like asking a mother to
cut off her baby's first curls!"

Dorothy was working for NBC in San Francisco in 1938,
when Orson Welles created chaos with his chilling radio
show about an "invasion" from Mars. Shortly thereafter,
Mae West was heard to enunciate her famous invitation
on the air — and there followed a veritable avalanche of
protest from the public. Deciding that Hollywood needed
a Continuity Acceptance Department, NBC transferred
Dorothy there. And later, when (Continued on page 82)

ROSE

PERLBERG

In less than three years, Connie Francis, the
little vocal dynamo from Bloomfield, New
Jersey, has warbled her way to the top of her
profession. Her records have sold a whopping
fifteen million, and she owns every trophy and
citation the pop music industry can award its
number-one female singer. Connie has also
dramatically proved that, when she belts 'em
out, the sound is heard 'round the world. Music-
ally speaking, she has girdled the globe as suc-
cessfully as Russia's space hero, Yuri Gagarin—
and with comparable history-making speed. In
every country where records spin, Connie has
run miles ahead of other American gal singers.
Her discs are translated into six languages:
Spanish, French, German, Italian, Japanese,
Yiddish. During her sixth and most recent visit
abroad, last spring, she walked off with Europe's
highest pop honor, "The Golden Lion Award,"
citing her as the top (Continued on page 72)

Let's get in orbit with that Francis girl,

;

IN less than three years, Connie Francis, the
little vocal dynamo from Bloomfield, New
Jersey, has warbled her way to the top of her
profession. Her records have sold a whopping
fifteen million, and she owns every trophy and
citation the pop music industry can award its
number-one female singer. Connie has also
dramatically proved that, when she belts 'em
out, the sound is heard 'round the world. Music-
nlly speaking, she has girdled the globe as suc-
cessfully as Russia's space hero, Yuri Gagarin —
and with comparable history-making speed. In
every country where records spin, Connie has
run miles ahead of other American gal singers.
Her discs are translated into six languages:
Spanish, French, German, Italian, Japanese,
Yiddish. During her sixth and most recent visit
abroad, last spring, she walked off with Europe's
highest pop honor, "The Golden Lion Award,"
citing her as the top (Co?itinued on page 72)

Let's get in orbit with that Francis girl, umUn& like an angel in anybody's language

Second-Time Winner

Now a seasoned Hollywood actor and singer, James Darren is happily married to beautiful
actress Evy Norlund. And equally beautiful son Christian entrances them both. Jimmy's most
recent movie for Columbia was "Sidget Goes Hawaiian" (below) with Deborah Walley as Sidget.

When James Darren hit Hollywood at
eighteen, he knew nobody. He admits, also,
that he did everything wrong. On the second
trip, things were very, very different!

by JERRY ASHER

When handsome, Latin-looking James Ercolani of
Philadelphia became James Darren of Hollywood,
he started out feeling less secure than that proverbial
cat on a hot tin roof. It was a strange, new world
for the lonely lad, but sometimes he could find escape
in dreams that transported him back where he
belonged — back with his loved ones where he could share
the warmth and glow of family togetherness.

Fortunately for Jimmy, he has always been a
practical dreamer. So he resisted the urge to fly away
home, worked hard, prayed a little and hung on tight.
Today, just turned twenty-five, (Continued on page 63)

the Many Facets

of Rosemary Prinz

An intimate visit with the
charming young woman who fascinates
daytime viewers as Penny Baker .
in As The World Turns

by FRANCES KISH

Home for Rosemary is a charming apartment in
New York's East 50's. One of Rosemary's greatest
pleasures is to serve gourmet food to friends.

In the role of Penny Baker, on the CBS-TV daytime drama As
The World Turns, Rosemary Prinz appears daily with talented
Helen Wagner and long-time lead of series Don McLaughlin.

Rosemary Prinz is Penny Baker on the CBS-TV daytime
drama, As The World Turns. As Penny, viewers
know her as a lovely, intelligent, sometimes complex
and always fascinating young woman.

As herself, Rosemary is all of these things, and more.
She is a girl of many moods and facets — a non-conformist
at heart She is also a career woman who cherishes
success in her profession, but longs deeply for success
in living— and in love. And yet, a fun-loving girl who
enjoys life with the same intensity she gives to its
serious side.

If you know her at all well, you know she is speaking
truly when she says, "I am many different people. I
find the need to express all of them individually, at dif-
ferent times. I don't believe that being an actress
made me an iconoclast. My ideas were always my own,
and I had to follow them. It would (Continued on page 68)

Rosemary is Penny Baker in As The World Turns, CBS-TV, M-F, 1 :30
to 2 P.M. EDT, sponsored by The Procter & Gamble Co. and others.

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Johnny appeared as a guest on deejay
Dave Overton's Five O'Clock Hop, when
he visited WSM, Nashville. Below, he
checks in at his new New York office.

No doubt about it. The girls find Johnny irresistible. Above, a group of
Richmond, Va., fans hit him up for autographs. When it comes to real
relaxation, though, Johnny loves to take it easy in the sun in Central Park,
in New York, which is near the small apartment he maintains in the city.

TMoU

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ill \

An easygoing chart-climber

talks about life, love

and the pursuit of happiness

by LILLA ANDERSON

As is true with many other young singers,
Johnny Tillotson is aware that — to enhance his
effectiveness as a performer — he must be
constantly at work. So he's studying acting.

Many a performer has clawed his way to
fame by fighting back against his frustrations.
The opposite emotion fires Johnny Tillotson's
ambition. He loves life, the world and the
people in it with such happy exuberance that
it spills over to touch everyone he meets, every-
one he sings to.

It shows through, also, in everything he
says. Johnny talks freely about his family, his
school, his friends, his songs, his girls and the
kind of marriage he hopes to have some day.

The songs come first. His top hit, a joyous,
imaginative ballad called "Poetry in Motion,"
has now finished its long run on the charts. Its
successor, "Jimmy's Girl',' is doing all right, but
seems unlikely to equal "Poetry." Johnny isn't
bothered. "I've been giving myself some
time to study out the next (Continued on page 84)

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ih.nL in .it hr. niiw New York office.

An easygoing chart-climber

talks about life, love

and the pursuit of happiness

by LILLA ANDERSON

■I " ■'■'■■" ' •■ .

Aj is true with many other young singers,
Johnny Tillotson is aware that— to enhance his
effectiveness as a performer — he must be
constantly at work. So he's studying acting.

The

any a performer has clawed his way to
fame by fighting back against his frustrations,
opposite emotion fires Johnny Tillotson's
ambition. He loves life, the world and the
People in it with such happy exuberance that
" spills over to touch everyone he meets, every-
one he sings to.

It shows through, also, in everything he
says. Johnny talks freely about his family, his
school, his friends, his songs, his girls and the
■ond of marriage he hopes to have some day.

The songs come first His top hit, a joyous,
""aginative ballad called "Poetry in Motion,"
kas now finished its long run on the charts. Its
successor, "Jimmy's Girl',' is doing all right, but
feems unlikely to equal "Poetry." Johnny isn't
bothered "I've been giving myself some
me t0 study out the next (Continued on page 84)

\S for zany

On the Holiday Lodge set, the yaks
are for real, as Canada's Wayne and
Shuster keep the action going

by KATHLEEN POST

Canadian comedy team Wayne and Shuster have delighted ev-
eryone in their appearances with Ed Sullivan. This summer, with
I pretty Maureen Arthur (facing page), they whoop it up with a
situation comedy series, Holiday Lodge. Above, they're on-set
with two extras who appeared in one of the series early shows.

Holiday Lodge is on CBS-TV, Sundays, at 9:30 P.M. EDT, as sponsored
by Lever Brothers (for Lipton Tea) and State Farm Mutual Insurance.

Oddity of Wayne and Shuster summer series is that,
for first time, they act in skits not authored by them-
selves. Here, laugh sequence with Elizabeth Hagman.

Everything about the Holiday Lodge team of Wayne
and Shuster is zany. But zaniest of all is
the fact that, in spite of their many hilarious
appearances on The Ed Sullivan Show, they have
remained the great unknowns of American show
business. Most viewers, in fact even their most loyal
fans, do not know which is Johnny Wayne and which
is Frank Shuster.

The reason for this is simple. Before going into their
first TV series, Holiday Lodge, they wrote their own
material, and it seems their own penchant was for
humor of the intellectual sort, skits that brought them
before the footlights in Grecian togas, safari outfits
and even Gay Nineties bathing suits. In disguises
of this kind, they themselves — as real comic
personalities — were sublimated to the makebelieve
characters in fantastic get-ups. {Continued on page 83)

One of Hollywood's most
eligible young stars,
Lee Patterson, prefers to
stay at SurfSide 6 instead
of moving over to Cloud 9

"Why fm Still
a Bachelor'

by RUTH HARVEY

He's fought his way through two continents and the
British Isles, and he's fought it through alone.
"Mine hasn't been the life of a schoolboy," says
rugged Lee Patterson. "It's been rough — and some parts
of it I'm not particularly proud of."

Six-feet-two, with the deceptive slimness of a
boxer, and currently starring as a private eye in
SurfSide 6, Lee could make an exciting series out of his
own slam-bang experiences before he became an
actor. Born Beverley Atherly -Patterson in Ontario,
Canada, he ran away from home before he was
fourteen. He hitchhiked and hopped freights from
Winnipeg to British Columbia. He worked as a bus boy,
caddie, lumber-mill hand and gold miner. He served
with the Canadian Army. He was a boxer, hockey
player, sculptor, designer and painter.

He's a man of quick-changing moods, and words
pour from him when he gets going on a subject. He'll
grab a pen right out of your hand to sketch an
illustration, such as the design for the hillside home
he's having built to live in — (Continued on page 79)

SurfSide 6 is seen on ABC-TV, Mon., from 8:30 to 9:30 P.M. EDT.

Lee loves to date, enjoys the company of
charming ladies — and gets plenty of it, as
Dave Thome in SurfSide 6. Above, with
Margarita Sierra, who co-stars as Cha-Cha
O'Brien. Below, guest actress Lisa Gaye.

reamu dah

Ever since its premiere in mid-September, 1960,
National Velvet has been a favorite Sunday-night
entertainment for the whole family. Famous as a
best-selling novel by Enid Bagnold, and as a hit movie
which rocketed MGM child-actress Elizabeth Taylor to
stardom, the TV version won a loyal following. Carole
Wells, the young actress shown here with co-player
Carl Crow, is well known in the role of Edwina, the
older sister of Velvet Brown. Carl and Carole met when
Carl was cast in the series as one of Edwina's many
admirers. A few weeks ago, the two young players
enjoyed a day of real "dating" in San Diego. While they
didn't happen to meet up with any honest-to-goodness
race horses as beautiful as the horse in National Velvet,
they did have a wonderful sun-drenched day.

down San M\

wgo way

Carole Wells and Carl Crow, of National Velvet, live it up, land
and sea, while on a recent personal-appearance tour to the border city

National Velvet is a favorite with
/ounger TV viewers, so it's no wonder
rhese girls tackled Carole Wells for
autographs on recent San Diego trip.

At San Diego Naval Training Center,
a group of sailors from Carole's home
state, Louisiana, yakked it up and
got signatures for their sailor caps.

Nobody should visit San Diego with-
out a trip to Balboa Park Zoo. Here,
South African fawn enjoys being pet-
ted by Carole and co-player Carl.

Before leaving Balboa Park, Carole
and Carl enjoy a fast ride on carousel,
e park is one of favorite fun spots
f young and old in San Diego.

■f~

And on to a matinee performance at
San Diego's world-famous Old Globe
Theater, another San Diego landmark
where excellent live drama is given.

And then it's time to head for the
beach on San Diego-Coronado ferry,
shown on facing page. Sunset swim
in Pacific is fitting end to day.

^National Velvet, starring Lori Martin, is seen on NBC-TV, Sundays at 8 P.M. EDT, sponsored alternately by Rexall Drug Co. and General Mills. 43

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Martin Milner, now starring as a vigorous
adventurer on TV's Route 66, recalls all
too well the terrifying day in 1947 when — with
all the world looking bright and shiny, and his
new acting career just opening up for him — the
dread disease, polio, struck him down and threat-
ened to cripple him for life.

"One day," he says, "I was laughing, jumping
and running. The next day, I was flat on my
back and wondering if I'd ever walk again. I
thought the world had come to an end. I couldn't
move." For an actor — competing in a business
where even the healthiest and handsomest have
difficulty getting established — the possibility of
going through life with a permanent physical
handicap, as an aftermath of polio, seemed like
the finish of all his dreams.

"I'd just done 'Life With Father,' the movie
that starred Irene Dunne," Marty remembers.
"I played the second oldest son in the film, and
it was a great start to what I thought was going
to be a clear-sailing career. But things have a
habit of working out quite differently from the
way you plan them."

With his muscles crippled and his body in much
pain, Marty's spirits began to sag. He figured
his career was finished and the best he would
ever get was a menial (Continued on page 78)

Marty stars in Route 66, on CBS-TV, Fri., from 8:30 to
9 :30 P.M. EDT, as sponsored by Chevrolet Motors Div. of
General Motors. Marlboro Cigarettes, and Bayer Aspirin.

CHARLES MIRON

When polio struck, it took Marty Milner's greatest faith
and courage to battle his way back to health and success

~V«& tD»g%B£j0zj[ M,

/ ^

M^artin Milneh. now stai nnii U » vto
■ ▼■ adventurer on TVs Route 66, recalls all
too well the terrifying day in 1947 when-with
all the world looking bright and dill
new acting career just opening up for him-the
dread disease, polio, struck him down and threat-
ened to cripple him for life.

"One day," he says. "I was laughing, jumping
and running. The next day, I was flat on my
back and wondering if I'd ever walk again. I
thought the world had come to an end. I couldn't
move." For an actor— competing in a business
where even the healthiest and handsomest have
difficulty getting established— the possibility of
going through life with a permanent physical
handicap, as an aftermath of polio, seemed Uk-
the finish of all his dreams.

"I'd just done 'Life With Father,' the n
that starred Irene Dunne," Marty remembers
"I played the second oldest son in the film, and
it was a great start to what I thought was §
to be a clear-sailing career But things hove a
habit of working out quite differently from the
way you plan them."

With his muscles crippled and his body in much
pain, Marty's spirits began to sag He figurrd
his career was finished and the best he would
ever get was a menial (Continued on page 78)

Marty Mars in Route Si, on I II- H rr

M HIT. M upon-.,
Onrral Motors. Marllwro Cigarette*, and Bayr K-.

CHARLES MIRON

When polio struck, it took Marty Milner's greatest faith
and courage to battle his way back to health and success

■■■I mm

New

Beauty
on the
Today
Show

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When lovely Anita Colby began her
daily "women's interest" segment on
The Today Show over NBC-TV during
last April, a member of the NBC staff
asked for some background data for pub-
licity purposes — "just an outline of the
things you've done, Miss Colby." A little
later, struggling to keep pace with the ac-
count, the questioner stopped, pencil poised
in air. "Just give me the list of things you
haven't done," she begged. This amazing
scope of interests is part of Anita's quali-
fications for her job with Today. An-
other asset is a cool, calm beauty, pleasant
to behold in the early morning hours when
the show comes on TV — or at any hour,
for that matter. She's a blonde, with eyes
she describes as "greeny-yellow." They
light up like lamps when she talks — and
she talks quite a bit, another asset for a
job in which being articulate is important.
This combination of beauty with genuine
gift of gab is one of the prime reasons
why Anita Colby has for years been one
of the most outstanding "talkers" in the
glamour set. And her background gives
her a wealth of subjects to talk about. A
success from an early age, Anita is armed
with enough subjects of conversation to
fill a book.

She intends to write it some day. Per-
haps with the title, "I Did It All Myself."
Subtitled, "With the Help of My Friends."
Because not the least of her talents is one
for making and keeping friendships. "I
check in with my friends, if only to say
hello by telephone or by letter, no matter
how busy I am," she says. "You make the
effort, when you like people."

She has one published book already to
her credit — "Anita Colby's Beauty Book."
Translated into eighteen languages, syn-
dicated in more than a hundred news-
papers and digested in magazines, earn-
ing more in steady year-by-year sales
than many a best-selling novel.

Anita's first job, modeling, came nat-
urally. She had the right kind of face
and figure for it, and she encouraged the
right circumstances. (Later, she was to
become the highest-paid model in the
business, but the beginnings were small —
and amusing.) In her teens, her parents
(her father is (Continued on page 76)

Anita Colby does women's-interest features for
The Today Show, as now seen over NBC-TV,
Monday through Friday, from 7 to 9 A.M. EDT.

by ALICE FRANCIS

Hunch Hunter

I BfeHi

Play Your Hunch fun begins long before it's on-air,
when the "multiple choices" are decided upon — and
the "spotcasters" go out to bring them in. left to right:
Spotcasters Leni Epstein (front row), Chris Carroll,
Anne Nixon and Susan Wright (back row), emcee Merv
Griffin, head writer Bob Lane. Then off to the chase —
a chase like the one seen beginning on opposite page!

by ROBERT LARDINE

The search never ends. For more than three years,
Play Your Hunch spotcasters have been vainly
seeking a Chinese square-dance caller, a castle
owner in Europe, a courageous wife who'll own up
to being responsible for smashing a fender on the
family car, a Swahili or Urdu language expert, and
an ornithologist who has his own teeth and can
whistle.

These unique personalities have thus far evaded
Chris Carroll, Leni Epstein, Anne Nixon and Susan
Wright. But the four human bloodhounds are con-
vinced they'll eventually land the elusive, colorful
characters. In the meantime, they're constantly sniff-
ing out other unusual individuals to act as partici-
pants on Play Your Hunch, the five-day-a-week
game emceed by versatile Merv Griffin on NBC -TV.

The fearless four, working for quiz kings Goodson
and Todman, track down their quarries in restau-

Contlnued w

3. Anne kneels at improvised "desk" to jot down vital C

An amiable segment of Play Your Hunch is the X-Y-Z game, where

viewers guess the "right" selection out of a grouping of three.
This is the story of the amazing job of hunting up the people

I. Faced with problem of locating a pair of
/m-identical twins, Anne and Leni start their
search in New York City's Stuyvesant Town.

2. "Are you really twins?" Anne wonders. Ronald and
Maryanne don't look a bit alike, but their mother, Mrs.
Ernest O'Brien, affirms they were born the same day.

4. While Anne snaps twins' picture for show files, Leni gathers more information from their mother.

■ ii 3ife«

Hunch Hunters

Anam^lesegmentofPlayYourHunchistheX.Y.Zgame,tvhere
v^ers guess the ^ seZecrion out o/ a grouping QJ _

Thls » the story of the amazing job of hunting up the people

R ^

Play Your Hunch fun begins long before it's on-air,
when the "multiple choices" are decided upon— and
the "spotcasters" go out to bring them in. left to right:
Spotcasters Leni Epstein (front row), Chris Carroll,
Anne Nixon and Susan Wright (back row), emcee Merv
Griffin, head writer Bob Lane. Then off to the chase —
a chase like the one seen beginning on opposite page!

by ROBERT LARDINE

4 untitiaed

'<*■

I. Faced with problem of locating a pair of
K»-identical twins, Anne and Leni start their
search in New York City's Stuyvesant Town.

2. "Are you really twins?" Anne wonders. Ronald and
Maryanne don't look a bit alike, but their mother, Mrs.
Ernest O'Brien, affirms they were born the same day.

3. Anne kneels at improvised "desk" to jot down vital O'Bri

statistics.

4. While Anne snaps twins' picture for show files, Leni gathers more information from their moth

•L 1 '

1 I

Hunch Hunters

(Continued)

rants, bars, elevators, schools — anywhere and every-
where. Like the Canadian Mounties, they keep pursuing
until they get their man (or woman). Their highly
specialized profession of picking up absolute strangers
has led to some embarrassing moments, some humorous
ones, and some tinged with pathos.

Not long ago, Susan Wright, a lovely, brown- eyed
brunette, set out in a quest for a garbage man, who
would be used alongside a symphony conductor and a
fish peddler — the contestants would have to "play their
hunch" as to which one was the maestro.

One of Susan's friends recommended her trash col-
lector. "I have the cutest one," she told Susan. "He's a
doll." So Susan set out in search of this begrimed
"doll" at the huge New York City dump at Sixtieth
Street and First Avenue. "I almost turned back because
of the horrible smell," she says. "But I kept on, because
I knew he was essential for the show. The fellows at the
dump kept whistling at me and yelling things. When
at last I found my garbage man, I was so happy that he
seemed as welcome as Chanel No. 5."

The garbage-man idea was the brainchild of the
Play Your Hunch head writer, Robert Lane. He's aided
by the show's other writers, John Keel and Frank
Wayne, in thinking up off-beat, out-of-the-ordinary
participants for the program. Then it remains for the
spotcasters to come up with the people.

Just so they're not caught short-handed at any time,
Susan and the others have catalogued some eight hundred
persons, who come in all sizes, shapes and professions.

5. Twins located, Leni calls the show's producer as
Anne stands by to take down any further instructions.
Result: Another assignment in same area — as seen below.

6. The new assignment is to locate someone who re-
sembles a certain singer. Anne and Leni have a
hunch supermarket checker Joe Rios fills the bill.

7. So — more note-taking and picture-making for the show's files.
This has turned out to be a highly successful day's work for the
girls, locating three people actually used on subsequent shows.

Spotcasters' triumph is appearance of their finds on Play Your Hunch. Here, a week later, Merv Griffin
interviews Marylou Balfe and Joseph Victorson — Catherine Butler and Fred Touzeau — and Maryanne and
Ronald O'Brien. Could you have guessed the real un-identical twins, if you hadn't seen the other pictures?

The spotcasters want to be prepared for any con-
tingency. A couple of months ago, slim, green-eyed Leni
Epstein found an elevator operator who would have
been perfect for the show. He reneged at the last min-
ute, however, saying: "I couldn't go on TV and admit
I'm an elevator man. My son in Chicago thinks I have
a very important job here."

Leni, a University of Wisconsin graduate, has been
luckier in other attempts. Being the only single gal
among the spotcasters (Susan's married to TV director
Louis Volpicelli, Anne Knoll Nixon's wed to free-lance
writer Walter Nixon), she frequently garners people
for the show while out on dates. "The other day, when
I signed up a waiter in a restaurant, he turned to my
boyfriend and asked, 'Is she for real?' "

Many persons are understandably skeptical when ap-
proached by the spotcasters to appear on television.
Thirty-five-year-old Chris Carroll, the sole male mem-
ber among the participant-seekers, recalls the time he
tried to talk a pretty girl on a bus into going on the
program. "I went up to her and politely said, 'May I

speak to you a moment?' I gave her my card which
lists my name and phone number, the show's name and
its number. 'Please call the office,' I said. She kept
looking at me suspiciously, and hurried off the bus a
block later. Needless to say, she never called!"

On the other hand, some people are delighted at the
chance to make a TV appearance. When Anne Nixon
offered a bus driver the opportunity, he was thrilled.
"Sis, you have a deal," he told her. "My wife watches
the show every day." After Anne got off the bus, he
kept waving in appreciation — and nearly ran into a
lamp-post.

All the spotcasters agree that children make great
participants, so they're always alert for any remarkable
youngster that might come along. The show's producer,
Ira Skutch, also well aware of a child's TV appeal,
recently suggested to them that they come up with a
youngster who could efficiently hop on one foot. Two
non-hoppers then would be placed alongside the little
human pogo- stick and the contestants would have to
guess which kid had the {Continued on page 79)

Play Y out Hunch, a Goodson-Todman Production, is seen on NBC-TV, Mon. through Fri., at 10:30 A.M. EDT, under multiple sponsorship.

Surprise Vwhf

George Fenneman — known nighttimes as Groucho's "son" — is now presenting
his own show in the daytime hours. And, for all concerned, it's a romp !

'-" 'rs .

Fenneman's own prize package is a lovely new home in
Sherman Oaks. At left — and on opposite page —
George and his Peggy beam greeting from front porch.

by JOSEPH H. CONLEY

Studio audiences have howled with glee
at the words: "We now take great
pleasure in presenting the son of Groucho
Marx by a previous marriage . . . George
Fenneman!" They also roar with laughter
when the same handsome young man — no
relation to Groucho, and now host of his
own show, Your Surprise Package, on
daytime CBS-TV — walks briskly to cen-
ter-stage and says, "I bet you are each
saying to yourselves, 'Gee, I thought he
looked taller on television!' "

George's smile is just as real as it is
infectious. "I enjoy doing Your Surprise
Package and look forward to each session
with the enthusiasm of a kid going to a
birthday party. I fear that someday I'm
going to wake up and find that this whole
career of mine has been just a dream. I'm
the luckiest guy (Continued on page 70)

— ■ - . . .

Your Surprise Package is seen on CBS-TV, M-F,
at 11:30 A.M. EDT, under multiple sponsorship.

Above: Husband and wife, both Sunday painters, now
have a home studio for their hobby. Below, the whole
family (left to right): Peggy; Georgia, II; George;
Beverly, 13 — and ace swimmer Clifford, 16, who found
dad's show an unexpected stimulus for winning a race.

■

George Fenneman-known nighttimes as Groueho's "son"-is now presenting
his own show in the daytime hours. And, for all concerned, it's a romp!

Fenneman s own prize package is a lovely new home in
Sherman Oaks At left-and on opposite page-
feeorge and his Peggy beam greeting from front porch.

by JOSEPH H. CONLEY

Studio audiences have howled with glee
at the words: "We now take great
pleasure in presenting the son of Groucho
Marx by a previous marriage . . . George
Fenneman!" They also roar with laughter
when the same handsome young man — no
relation to Groucho, and now host of his
own show, Your Surprise Package, on
daytime CBS-TV— walks briskly to cen-
ter-stage and says, "I bet you are each
saying to yourselves, 'Gee, I thought he
looked taller on television!' "

«°il S„urPrise Package is seen on CBS-TV, M-F,
at H:30 A.M. EDT, under multiple sponsorship.

by JUNE CLARK

/ t

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l»'V

v.v,

*&*

I Ju-'h T .

Rise and shine! Lydia looks forward to a day
packed with activities which would defeat
a less organized girl. Clue: She has A Plan.

Lydia, who plays Hassie — the teen-age granddaughter of Walter
Brennan on ABC-TV's The Real McCoys — knows the value of tim-
ing (and beauty) begins with hour devoted to hair and skin care.

Sorting records in advance, Lydia picks favorites to spin for dancing after buffet supper (planned for three couples), sets
buffet table before leaving for afternoon baseball game. Looking crisp and fresh, Lydia joins beau to root for home team.

Lydia Reed, the charming young actress you see each week in The Real McCoys,
shows you how a beauty routine can be handled on a fast-paced Saturday full of fun

A shampoo plus egg is Lydia's choice for her fine, slightly dry hair; a creme rinse follows. She sets pin-curls, hides
them prettily with velvet bow-clips. After a facial masque, Lydia applies liquid foundation, then a rosy pink lipstick.
Next, a quick trip to the market to round up ingredients for Lydia's specialty — meat loaf. "Inexpensive, but good!"

Good things to eat help make any party a success; the
boys aren't shy about helping themselves to "seconds."

To keep her soft, face-framing hairdo intact
as she whirls, Lydia mists it with hair spray.

by JUNE CLARK

««•:.

Rise and shine) Lydia looks forward to a day
packed with activities which would defeat
a less organized girl. Clue: She has A Plan.

•rtiM

Lydia, who plays Hassie— the teen-age granddaughter of Walter
Brennan on ABC-TV's The Real McCoys— knows the value of tim-
ing (and beauty) begins with hour devoted to hair and skin care.

Sorting records in advance, Lydia Dicks favoritn* *,-, .,->;„ t

buffet table before leaving Joftefnoon Kail %%" fcj^&SZW*^ ^^ f°r th™ <=°UPleS»' "h

y P ana Tresh, Lydia joins beau to root for home team.

Lydia Reed, the charming young actress you see each week in The Real McCoys
shows you how a beauty routine can be hand.ed on a fost-poced Saturday Ml of fun

:/"',

Good things to eat help make any party a success; the
boys aren't shy about helping themselves to seconds.

To keep her soft, face-framing hairdo intact
as she whirls, Lydia mists it with hair spray.

£ueku &'$rim

Pat not only found a new career in TV, but a new "offspring" — Roger
Perry, seen as the youthful party-of-the-second-part in Harrigan & Son.

The indestructible
sixty-two-year-old hero of
Harrigan & Son takes
a clear-eyed look at that
fickle dame Success

by JOHN JUSTINE

"|t was as if they had suddenly
1 switched off the lights on me.
People I'd known for years stopped
calling, producers I'd worked for many
times turned the other way when they
saw me, and invitations to parties and
social gatherings became a thing of the
past." Pat O'Brien, the indestructible
sixty-two-years-young man — who long
ago Skipped out of Milwaukee, Wiscon-
son, one bleak day, to try cracking the
iron curtain that faces Broadway new-
comers— was relating the strange ways
of Hollywood, the worship of success,
the fear of failure, and the uncertainties
of friendship in a town where friend-
ships spring up all too quickly, then
end with the dropping of an option.

"Outside of some work for my old
friend John Ford, everyone else in
Hollywood — except old pals like Spen-
cer Tracy — acted as if I'd died, or
something." Pat O'Brien is a proud
Irishman, a man who has carried his
own weight for a long time. But one of
the paradoxes of Hollywood is that, no
matter how big a star one may become,
there comes a time when the fickle pub-
lic changes to a new hero and the old
hero is left to fend for himself. "So, after
twenty-five good years, I found myself
out in the cold. And it can get awfully
cold in that Hollywood sun!"

Sitting on the shelf were two pilot
films Pat had made, but to which noth-
ing had happened. They had been
pushed from agency to agency, with no
results. The answer usually went some-
thing like this: (Continued on •page 75)

Pat O'Brien and Roger Perry are seen as legal beagles in Harrigan & Son, ABC-TV, Friday, 8 P.M. EDT, sponsored by Reynolds Metals Company.

SPECIAL MIDWEST STORIES

MAKE IT SPARKLE

For Ken Reed, being a deejay
for KXOK, in St. Louis, is
"exciting and demanding" and he
wouldn't trade it for anything else

When Ken Reed was a small boy
growing up in Tulsa, Oklahoma, he
would covertly listen to a crystal radio
set, while pretending to be asleep. Thus
was first formed his desire for a career
in broadcasting. Today, Ken has more
than fulfilled that ambition with his popu-
lar deejay show for St. Louis's KXOK,
heard Monday through Saturday, from
10 a.m. to 3 p.m. Says Ken of his work,
"Deejaying is exciting and demanding.
The search for new material and ideas to
make the show sparkle is never-ending.
Nevertheless," he concludes emphatically,
"I love it." . . . Ken says his hobbies are
fishing, hunting, working in his vegetable
garden . . . and "shinnying up palm trees."
(Unfortunately, his indulgence in this up-
beat sport is rather limited, palm trees
being somewhat scarce in St. Louis.) All
of the aforementioned hobbies are enjoyed
by Ken only when he is not involved in
caring for his family, to whom he is great-
ly devoted. Said family consists of his wife,
Millie, their three children — Kenny, 5;
Andy, 3; and Linda, 2 — not to mention a
crow named "Marmaduke." Ken says,
"Nobody else in the family likes him much
and even I sometimes get nettled with
him." All six Reeds live in a ranch-style
house (overlooking a "dappled landscape"
sans palm trees) in Florissant, a suburb of
St. Louis.

As you can tell from the grin, Ken's a happy family man. Above, with
refrigerator-sitters — Linda, 2, Andy, 3. Below, Andy again, Kenny, 5.

A touch of the Orient — actress Miiko Taka and Somezuro, an authentic Geisha girl, visit with Tom on Give 'N Take.

GIVE 'N TAKE

V
R

Winning the $1,000 "wild guess" jackpot on KYW-
TV's quiz game, Give 'N Take, was a little too much
for the pleasant, somewhat plump lady. She gasped for
breath and almost fainted. Undaunted, the show's host,
Tom Haley, ad-libbed while helping her regain her
equilibrium. An embarrassing moment was turned into
a humorous interlude. Handling the unexpected is the
forte of the flame -haired Irishman who is as customary
as the morning cup of coffee for many Northern Ohioans.
In fact, many of his lady fans wouldn't take their morn-
ing break at any other time than 10 to 10:30 weekdays,
when Tom throws sticky questions at contestants on
Give 'N Take. Next to an ever-present bow tie and an
attractive family of six girls, the most distinctive thing
about this genial forty-one-year-old expatriate from
Brooklyn is his ability to "switch gears" easily and rap-
idly in this hectic, exciting world of TV. Announcer,
deejay, newsman, host and quizmaster — these are just a
few of the radio and television roles Tom has played
successfully in his twenty-year career in broadcasting.
And it all started in a way that sounds suspiciously like
something out of the first chapter of a "How to Turn
Failure into Success" book: He got fired from his first
job! As secretary (actually one of a battery of young
men) to one of New York's richest men, twenty-year-old
Tom Haley was "wasting away." He had become an
errand-runner and note-taker for the wealthy tycoon
when a reversal in the family fortunes took him out of

Fordham University after two years of journalism study.
But his heart wasn't in the paper -work. The boredom
of this routine, workaday life was broken, each lunchtime,
by a quick hop across the street to gape at Radio City.
His true feelings did not escape the perceptive eye of
his employer, who suggested kindly but firmly that, since
he was so bored, perhaps he should look for a job else-
where. He did — and became a page at NBC, the tradi-
tional entree to broadcasting. . . . After a year of treading
the magic corridors at NBC, Tom got his first radio
break — a job as announcer at an Allentown, Pennsylvania
station. He began doing everything and anything that
needed doing, starting from the ground up — a major
chore was sweeping out the studios each night. "Despite
the hard work, this is the only way really to learn about
broadcasting," he reflects. "The experience of doing so
many different things is so valuable and can't really be
learned any other way." . . . After a brief stint as an
announcer at WRC, in Washington, he went to Cleveland
in 1945 and joined radio Station WTAM. He was, at
one time or other, a deejay (with a top-rated morning
record show featuring homey humor and, of all things,
poetry reading!), newscaster, actor, announcer and
host. . . . When WNBK (TV), sister-station to WTAM,
began operating in 1952, a new vista opened up for Tom.
He became a pioneer innovator of television technique.
His daily hour-long show, Haley's Daily, amused, enter-
tained and edified viewers with homespun comments,

Announcer, deejay, quizmaster
—KYW-TV's Tom Haley is a
glowing example of how failure
ca?i be turned into success

Long-necked pal at Cleveland Zoo gets a
"hand-up" from Tom on Show Them Alive.

The women in Tom's life add up to 7: Wife Helen and daughters — from lower
right — Nanette, 7; Jill, 3; Susie, 5; Jennifer, 8; Debbie, 9; and Cindy, I I.

folksy witticisms and sage comments about the world in
general. It was a time of learning how to do television
shows under primitive conditions, with scenery tum-
bling at a crucial moment, or the sudden realization
that there's only five minutes of copy to fill the final ten
minutes of a show. . . . Tom's many TV successes were
registered in a variety of programs. Morning Surprise, a
prestige show featuring remote broadcasts from places of
interest around Northern Ohio, and — after the station call
letters were changed to KYW-TV in 1956 — Breakthrough,
a science show, and Cash On The Line, a quiz-movie
program. His Cleveland Zoo series, Show Them Alive, is
a thirteen-week series videotaped last year and being
re-run this summer. It has been hailed as a brilliant
all-family entertainment show and educational tour de
force about the world of animals. . . . Although Tom has
dispensed more than $55,000 over the past year, on Give
'N Take, he feels that there is more to the show than
just giving away money and prizes for contestants' luck
and knowledge. Tom has a real belief in the necessity
of total involvement of his audience and has therefore
inaugurated several entertaining features which have
gone over very well. For example, he devotes several
minutes each day to finding out people's embarrassing
moments and pet peeves. Some of the unexpected com-
ments in these sessions often break up the audience,
directors, engineers and Haley himself. . . . Another
popular part of the show is "story time," when Tom

starts a story off and has members of the audience com-
plete it, no matter how far afield they may take it. . . .
Summer finds Tom out on the golf links, where he fre-
quently hits in the low eighties — but, regardless of the
score, soaks up the sun and the fresh air. All year 'round,
despite his busy schedule, Tom manages to spend consid-
erable time with his favorite girls: Attractive wife Helen
and six daughters — Cindy, 11; Debbie, 9; Jennifer, 8;
Nanette, 7; Susan, 5 and Jill, 3. "That's a lot of women to
have lined up against me," groans poppa Haley. But you
can tell he loves every minute of it. . . . His meeting with
Helen actually reads like something out of a romantic
novel. Back in 1946, when he had just been in Cleveland
a short "time, Tom ate regularly at a restaurant where
Helen was a waitress. It didn't take long for Tom to pop
the question, and they were married that same year. . . .
Tom is a family man's family man. He believes in doing
things for and with his brood, and this attitude is apparent
at the Haleys' home, a two-story frame house in suburban
Lakewood, Ohio. An eagerly awaited yearly event is the
visit of the entire Haley clan to Tom's show. This is an
occasion that few viewers would miss. This charming
family group is an inspiration and a pleasure to see. . . .
With such a string of successes behind him, and a versa-
tility which is remarkable even in the fast-paced,
changeable business of television, Tom Haley looks for-
ward to future opportunities to enlarge the sizable niche
he has in the hearts of Northern Ohio viewers.

R
59

wmM

waam

••'vi;.^-''-'ifV^

PM--EAST and WEST

Two program segments — one

telecast from the East Coast,

the other from the West —

focus an illuminating spotlight

on "ordinary people who

lead extraordinary lives"

Writer-artist Jim' Hart tells Mike about article he wrote for Saga magazine.

Three principals of the show —

above, PM — West host is

Terry O'Flaherty; PM — East host and

hostess are Mike Wallace

and Joyce Davidson (at left).

A magazine of the air — featuring discussion, news, views,
interviews and entertainment — that's what PM — East and
PM — West is all about. Syndicated by the Westinghouse Broad-
casting Company, to many cities throughout the United States, the
nightly show is divided into two segments: PM — East, hosted
by Mike Wallace and Joyce Davidson, originates from New York
for sixty minutes and is immediately followed by PM — West,
hosted by columnist Terry O'Flaherty from San Francisco, for
thirty minutes. . . . Ever since his controversial TV program
Night Beat catapulted him to international prominence, Mike
Wallace has been moving from one area of show business to
another, and always with success. The Massachusetts-born per-
former began his career as a newspaper columnist, then gradually
eased into radio, TV and acting on Broadway. In recent years,
Mike has served as commentator for the two 1960 political con-
ventions, made niany guest appearances on variety and panel
shows, and now serves as executive vice-president of the Academy
of Television Arts and Sciences. The versatile broadcaster lives
at Sneden's Landing, New York, with his wife Lorraine and chil-
dren. . . . Pretty Joyce Davidson's unique gift for putting guests
at ease is matched only by her gift for drawing the most out of
them with her sharp wit. It's no wonder then that the Canadian-
born performer rose from relative obscurity to stardom in the short
space of only two years. Joyce began her career as a factory
worker — soldering condensers for TV sets. And, although she
describes herself as once having been "an unpopular, plain girl
with straight hair and very skinny," she managed to become one
of the five winners in an Ontario beauty contest. From then on, it
was smooth sailing into modeling, Canadian TV and finally TV
here in the United States. . . . Long distinguished as a radio-
television columnist for the San Francisco Chronicle, Terry
O'Flaherty made his debut as a performer with the advent of
PM — West. Born in What Cheer, Iowa, Terry moved to California
at the age of one, was graduated from the University of California,
and served with the Navy during World War II. The handsome
bachelor has been on the Chronicle for nine years and, during
that time, has interviewed just about every star in show busi-
ness. . . . With three such versatile and talented performers as
Mike Wallace, Joyce Davidson and Terry O'Flaherty, PM — East
and PM — West has it made . . . from coast to coast.

IT'S
SPIN TIME

. . . for the teenagers and
Jack Hilton, as he emcees a
whirl of a dance-party show
for Chicago's WGN-TV

When Jack Hilton was in his junior year at Northwestern
University, he went to WGN-TV in Chicago and
auditioned for emcee of that station's Spin Time show. He
had no previous experience in either radio or TV and just
did it for the experience of a professional audition. Much to
his surprise, he got the job. According to Jack, the show —
seen Saturdays, 4 to 5:30 p.m. — features a new version of the
old dance-party idea. Says he, "We use a night-club set
with low-key lighting. We hold a dress-up party, the result
being that the teenagers are usually in their best clothes
and on their best behavior." . . . Jack lives in a "low-slung"
ranch house in Elk Grove, Illinois, with his pretty wife
Cherie (whom he met at a fraternity party at Northwestern
University), their cute-as-a-button, year-old daughter
Bryn, and a German shepherd called "Kordo vom Osna-
brucker-Land" (named after a region in Germany).
Jack's hobbies include swimming, gardening, refinishing
cabinets and cooking on the patio mostly because "I have
an apron that says so."

Home-life for Jack and Cherie revolves around year-old Bryn, who manages to be in quite a whirl of activities, herself.

(Continued from page 32)
the fast -climbing star has finally found
himself.

"I was a naive nineteen when I
signed with Columbia movie studio and
came to Hollywood in 1956," Jimmy
recalls. "It was quite a responsibility,
living away from home and knowing I
must achieve on my own. I was very
shy— not a good mixer — and I didn't
know how to extend myself. Having the
support of Columbia Studio should
have given me more self-assurance. It
didn't, perhaps because I was too in-
tense and sensitive to criticism. In those
days, I was on the defensive most of
the time."

The whole truth was that Jimmy's
attitude was not without provocation.
Unfortunately, no one knew that he
had already been exposed to a painful
period of Hollywood indoctrination. It
had lasted an angry three months, early
in 1955, just long enough to mark the
sensitive fellow with invisible scars.
This was about a year before Columbia
signed him to a long-term contract.
Jimmy had gone to Hollywood on his
own and tried to make it the hard way.
He can look back on that experience
with detached emotion — now.

"No one could have been less pre-
pared to buck the competition that hit
me smack in the face. I knew no one,

Second-Time Winner

was completely 'blind' and didn't know
what one was supposed to do to reach
the right people. As far back as I can
remember, I've always wanted to be an
actor. There's greater instant pleasure
in singing. But — for me — acting is still
more fascinating. So I gave it a whirl
and did everything the wrong way!

"I rented an inexpensive apartment
on Vine Street that was the most de-
pressing dump in the world. This place
hadn't been painted in years and you
needed an oxygen mask to get a good
night's sleep. Everything about Holly-
wood seemed so cold and heartless.
People treated actors with such great
indifference and it made me sick all
over. There's no excuse for rudeness
and, when I get pushed around, my
temper explodes. It exploded plenty in
those days! Needless to say, I wanted
no part of Hollywood and no one could
have convinced me that I'd not only
come back— but learn to love the town,
too."

Back in Philadelphia — where he was
born (on June 8, 1936) and brought up
— Jimmy used to sing for his supper
three times a week. A friend of his
adored parents owned the popular C.R.
Club, and those otherwise "non-profit"
appearances fanned the flame of inde-
pendence for the ambitious teenager.
"It gives you a good feeling to be able

to do things yourself," Jimmy sums up.

The creative Ercolani household fair-
ly vibrated with love for each other and
for all things artistic. Jimmy's proud
parents gave him trumpet lessons —
which, unfortunately, took second place
in favor of the local pinball machines.
He still vowed to live up to their high
hopes. Fate, in the form of a brief ex-
cursion to New York, spun his personal
wheel of fortune. Jimmy was simply
standing in an office building waiting
for an elevator and Hollywood couldn't
have been more remote. A Columbia
talent scout spotted him and — next
thing he knew — he was convinced he
should sign a contract to make movies.

"The full impact of what I had done,"
Jimmy's dark eyes twinkle in retro-
spect, "escaped me until I hit Hollywood
again. Because I was scared, all the old
misgivings returned. Outside of two
weeks of formal study with the Stella
Adler group, I sadly lacked professional
training. May I say now — no one should
come to Hollywood unprepared!

"Shortly after I got here, they gave
me the lead in a small picture, 'Rumble
on the Docks.' I was expected to look
relaxed and natural in front of the
camera. The picture was released and
my unexpected fan mail, I think, gave
me the courage to go on."

From there (Continued on page 67)

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(Continued from page 63)
on in, Jimmy's growth was gradual but
consistent. Some seven pictures later,
he came into his own, actingwise, in
''Let No Man Write My Epitaph." Hard-
boiled critics literally wept _ over his
dramatic, soul-searching performance.
In the meantime, Jimmy's personal life
took an unexpected turn and completed
his circle of true happiness. His mar-
riage to a non-professional had resulted
in failure, but he married again — this
time, to blonde and beautiful Evy Nor-
lund. The former high-fashion model
(Miss Denmark in the Miss Universe
contest, prior to her motion-picture ca-
reer) and Jimmy chose New York's St.
Patrick's Cathedral for the wedding
ceremony.

Jimmy met Evy when each was en-
rolled in drama classes on the studio
lot. Her English was bad at the begin-
ning, but good enough for understand-
ing Jimmy's "Will you have dinner
with me some night?" When the lonely
pair had their initial date, he discov-
ered that all her qualities appealed to
him. She was honest, outgoing, gentle,
and refreshing as a sea-breeze. He
in turn was volatile, introspective,
guarded, and withdrawn. Their chem-
istry was made to order for romance.

"We combined our honeymoon with
the filming of 'The Guns of Navarone,'
in Greece and London," Jimmy recalls.
"When we visited Evy's large family in
Denmark, I went there not expecting
to like it. So, it was so wonderful, we
went there twice! Having Evy along to
share made my first trip to Europe
perfect. She is always completely adapt-
able, and my five-year-old son, Jimmy
Jr., adores her, too. Even when Evy was
expecting our son, Christian — and I had
to make many personal tours — she
never complained. Evy voluntarily gave
up her career. She is content with her
role of wife and mother. Believe me, I
count my blessings!

"Seven weeks after Chris was born,
I had to go to Honolulu on location for
'Gidget Goes Hawaiian.' This was the
acid-test for Evy, since I wanted her to
accompany me and the baby was too
young to travel. We left him in the
capable hands of my brother and his
wife, who also have a young son. Every
time we mentioned Chris — which was
often — Evy just managed to hold back
her tears. Finally, she took to calling
him, just to hear him gurgle and coo
over the long-distance telephone. We
')' counted the days and hours, until we
thought we'd never get back to holding
him close to our hearts again!"

Although Jimmy Jr. lives with his
mother, his famous father sees him
every possible weekend. "A growing
boy needs all the love and attention
both parents can give him," Jimmy
avows. "When I'm with my son, I try
not to do personal chores that would

distract or bore him. It's not much fun
for a kid to go around with an adult,
unless the day is free for his interests.
We have a fine time building model
planes together. Sometimes we go to the
zoo. Jimmy's a fine boy and I just hope
I may be able to save him from making
some of the mistakes I've made."

According to Jimmy Darren, "I have
never been happier or more content
than I am today." Therefore, it's rea-
sonable to assume he's in tune with and
in complete control of every situation.
Not quite so, he insists. A case in point:
His first recording session. It was in-
evitable that the Col-Pix Recording
Company — a subsidiary of Columbia
Pictures — would enhance the facets of
Jimmy's career by remembering he had
an excellent pair of pipes.

"I had never sung in front of a live
band before," he grins, "so, when I say
I was nervous, I mean they practically
had to hold me up when my knees
buckled. It's quite an experience to face
eighteen musicians — plus arranger-
conductor Billy May — plus Morris Sto-
loff, then head of the music department
— plus writers of the songs and the crew
of recording technicians. I managed to
remain in one piece and, quite serious-
ly, I loved every moment of it!"

To date, Jimmy has recorded about
eight numbers. His own favorites are
"Gidget" and "There's No Such Thing."
The most popular with the buying pub-
lic are "Gidget" and "Angel Face." It's
his personal belief that a singer must
choose either popular or rock 'n' roll,
and he's learned it's a mistake to try
and sing both. As long as he can sing
and act, too, he'll continue to consider
himself a very fortunate fellow.

Obviously, Jimmy's bachelor apart-
ment was a bit crowded for comfortable
family living. The Darrens' current
abode is a rented, all-redwood house,
high in the Hollywood Hills. Jimmy

shudders whenever he strikes a match,
which rather cramps his style when he
cooks his specialty — "barbecued steak
and a terrific raw-vegetable salad to go
with it." His favorite friends and wel-
come dropper-inners include actor
John Saxon and comedian Mort Sahl.
There's an excellent hi-fi system in the
house, complete with Lansing speaker
and H.H. Scott amplifier. Jimmy's rec-
ord collection features all of Count
Basie — and "Sinatra, of course!"

The Darrens alternate "staying home
with going out." Jimmy isn't too fond
of cocktail parties — "they're usually
cold, and everyone stands around hold-
ing a drink with nothing to say to each
other." He wishes he had more time to
pursue such hobbies as playing the
trumpet, tennis, baseball, tinkering
with sport cars, and his newest — paint-
ing. Jimmy started out big, by painting
an elephant! He likes clothes, collects
sweaters and usually wears one favorite.
He literally loathes driving in traffic —
and "pedestrians who bump into you,
spin you around, and then don't even
have the decency to look back, make
my blood boil.

"I still have a great temper," Jimmy
confesses, "but I've learned to make
sure it's necessary, before I lose it. In
fact, I've learned to make sure about
many things. Like handling things with
more thought, as opposed to acting on
impulse, which I normally did when I
was younger. I'm more understanding
and tolerant today. And, thanks to Evy,
I'm no longer restless and impatient.
My present contract has two more years
to run, and who knows what will hap-
pen after that? As a performer, I be-
lieve I need to have much more train-
ing before I hit my peak. As far as my
personal life is concerned — thank God,
I've found true love. Without it, you're
nobody at all!"

Why not write us a letter?

8-61

In this issue of TV Radio Mirror, there are more stories than in the past.
Many of them are, as before, about favorite stars of TV seen regularly on
weekly shows. Others, as you've noticed, are about new stars, new shows.
Or about what goes on behind the TV scene. Please write us a letter to
let us know what you'd like in future issues:

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EACH MONTH?

Stories on major established performers on TV

Stories on the people you see on TV who are

internationally prominent, but not entertainers

Discovery stories on new talent in TV and in the

recording field

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Color TV, international projects, etc.

Reviews of new TV series (one a month)

Behind-the-scenes stories

Send to: TV Radio Mirror, Box 2150, Grand Central Station, New York 17, N. Y.

The Many Facets of Rosemary Prinz

{Continued from page 34)
have been the same, whatever work I
did."

She does admit that being an actress
may have strengthened this attitude. At
sixteen, during vacation between high
school and college, she went into sum-
mer stock as an apprentice, was quickly
graduated to ingenue leads, and went
on the road, instead of entering college
in the fall. She played the lead role of
Corliss in "Kiss and Tell." She later
did road shows, half-a-dozen Broadway
and off-Broadway plays, a great deal
of nighttime TV drama. She says, in
retrospect, "For fourteen years, I have
been an actress. I have examined other
people's emotions. Their ways of living,
their relationships to one another. I
have recreated these emotions, and, to
some extent, they became mine. This
has been bound to make a difference in
me."

At twenty, Rosemary was married to
a man — a few years older than she —
who is now a successful stage director.
They were very much in love. Six years
later, she asked for a trial separation,
and about one year later, they were
divorced. Yet she still says of her mar-
riage, "It takes two to break up a mar-
riage. And it takes a set of circum-
stances. I am tremendously fond of my
ex-husband. You don't love for six
years, and sever the bonds lightly. But
loving someone isn't necessarily re-
maining in love. A young girl doesn't
always understand this."

In Rosemary's opinion, a young girl
may be inclined to marry for the wrong
reasons. She says, "The security of
marriage itself may have a certain
meaning for her, rather than the person
she chooses. Every girl has her own
conception of what marriage should be,
into which she tries to make everything
else fit. So many young wives do every-
thing wrong. The husband becomes un-

happy and the wife is also unhappy.

"A young girl sees life in romantic
fantasies," Rosemary continues. "She
makes a situation seem what she wants
it to be. But it won't be like that in
reality. A time arrives when she must
come to grips with her marriage as it is.
When she must find areas of compro-
mise, if that is possible. Everything she
has read in novels and stories, and seen
in movies and television, may have
helped to perpetuate the fantasy. This
makes it even more difficult."

Rosemary stresses the importance of
strong, enduring friendships with her
own sex and with men. Based on mut-
ual liking and understanding, mutual
respect for each other's individuality.
"What is living but relating to other
people?" she asks. "Giving and taking.
Forming warm, deep, mature friend-
ships."

It amuses her now to look back on
the first months after her divorce. "I
went through a period of what could
only be called 'delayed adolescence.' I
felt it was a wasted evening if I didn't
have a cocktail date, a theater date, a
date to go out afterwards. But after a
while, the dates all turned out to be
more or less alike — only the names
were different. The cast changed, you
might say, but the play remained the
same. There were other things, more
productive things, I wanted to do with
my time. I suppose I had to get all that
out of my system before I learned
better."

The great problem with men, as she
sees it — at least with those she meets,
and she meets a great many — is that
some are too giving and some not
enough. "There is either the sweet,
kind, loving person who very soon lets
you step all over him — and a strong
woman doesn't like that at all. Or there
is the man so egocentric that he thinks

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only of himself. This kind of man usu-
ally expects the woman to become sub-
ject to him, to the point of negating her
own identity."

Many women feel "trapped" in mar-
riage, she believes. But many could be
happier, if circumstances were changed
even a little. The potential is there, if
only there were the right conditions.
She tells about one of her friends who
found such an outlet. "The first four
years of her marriage were extremely
difficult. Her husband worked at night,
she had a couple of babies, and she was
just there at home, alone, most of the
time. Her house was chaotic. She com-
plained about the endless round of
cooking and cleaning. Although he
couldn't really help any of this — any
more than she could — she quarreled
with her husband a great deal.

"After a while they moved into a de-
velopment where a community theater
began to flourish. As much for an out-
let for her frustrations as for the work
itself, she started to help. She had a
baby-sitter, occasionally at first, but as
her interest grew and her mood became
happier, her husband helped her to get
out more. She built sets, became stage
manager, acted in some of the plays.
The result was that she became a better
housewife, because she had to put her-
self on schedule. Now her relationship
with her husband is happier, the home
is well organized and she is more con-
tented. It required energy to get started.
She had to give herself a push. But it
did change her world."

Giving one's self a push is something
with which Rosemary herself is quite
familiar. She does it every day on a
schedule that would appall many wom-
en. When she is on the show — and fre-
quently she is on every day of the
week — she arrives at the studio at 7:30
in the morning. She leaves at 5: 30, after
rehearsals for the next day. There may
be as many as forty pages of dialogue
to learn at night. She takes classes in
"body movement" — for the coordination
and sense of rhythm required by every
actor. She studies voice. She attends
drama workshop for professionals. She
is studying French, and taking some
college courses she missed when she
went on the road as an actress instead
of entering college.

She finds time to be a gourmet cook.
"Part of the whole picture of me is a
strong domestic streak. I love to cook,
to bake, to experiment with new reci-
pes. My kitchen is always well-stocked
and I get a tremendous satisfaction
when people enjoy a meal at my home."
She loves music, studied piano. Her
father was a brilliant concert cellist
who worked under the baton of the
great Toscanini and, later, in the Fire-
stone orchestra. "Music is a part of me.
My home is always filled with i*"

''Home" is now a small mid-town
New York apartment near the East
River. Living room, bedroom, dining
area, kitchen and bath. "Furnished in
a way that expresses my diversified in-
terests. The living room is Oriental in
feeling. Low pieces, in various lovely
woods. Upholstery of rough-textured
fabrics. All of it expressing the career
side of me. The paintings and many of
the ornaments have tremendous mean-
ing for me. Some I have bought, some
have been gifts, some of the pictures
and the etchings are the work of
friends.

"The bedroom is a very feminine
room, all in blue and white, expressing
another side of me. A scrolled, white
wrought-iron bed, a five-foot-round
chaise longue, a white desk and table.
To me, a home means the privacy and
dignity I need."

Like Penny Baker, the girl she plays
so eloquently in As The World Turns,
Rosemary Prinz feels she has learned
that every experience contains a needed
lesson. And that out of those experi-
ences emerges a new maturity.

"I couldn't play Penny at all if I
didn't try to play her honestly. I try to
invest her with the things I believe in,
within the framework of the way she
is conceived by the creator and writer
of the show, Irna Phillips. Irna has a
fantastic talent for what I call 'intuiting.'
She has the gift of sensing things about
people. If the actor brings something to
the part, she will expand that and de-
velop it. It makes the show wonderful
to work in.

"The character of Penny is honest,
but she is not a priggish person at all.
She is courageous, not afraid of life. She
has loved, but disappointment has never
made her bitter. She is strong, yet she
is very feminine. She is vulnerable —
as all women are — but, when her trust
has been misplaced, she can say, 'That
happened, and now I have to go on to
something else.' "

Like Penny, Rosemary has learned
that to live means to change constant-
ly. "During the past five years there has
been an enormous change in me. Dur-
ing the next five, there will be more.
There has been pain. There has been
the effort to go back — to the dates, to
the flowers delivered every day, to the
excitement of adolescence. But this
could never satisfy a woman of any
depth for any length of time.

"So now I am in the next stage of my
life. I don't know what is ahead for
me — any more than Penny knows what
is ahead for her. Perhaps I shall marry
again — when I meet a man who under-
stands the basic needs of all these dif-
ferent women who are part of me."

All these different women, all these
many facets that Rosemary Prinz can
call upon and re-create to make her
acting honest and impressive.

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(Continued from page 53)
in the world to have spent all these
years doing exactly what I love most:
Having fun with people."

Your Surprise Package premiered
last March, as part of CBS's new for-
mat for daytime TV, and George cred-
its its subsequent success to several
people. "My first show, in 1942, was an
interview type and I know that it takes
more than a 'personality' to make a
show click. Al Singer, my executive
producer, invented Surprise Package.
The format is solid, and this can be
credited to no one but Al. Allan Sher-
man, the producer, has a list of credits
which should get him past the Pearly
Gates. He's intelligent and has supreme
good taste. Hal Cooper is our director
and I trust him implicitly. What more
can I say?"

Obviously, much more could be said
by a less modest man. It's an accepted
fact that audience-participation shows
are only as good as their hosts. Since
the contestants' remarks and answers
are the heart of the show, it stands to
reason that the emcee who queries
them has final responsibility for success
or failure.

George has spent some fourteen
years with Groucho Marx, on both
radio and TV. "Groucho was my boy-
hood hero. In school, I did take-offs on
him and memorized many of his funni-
est lines. When I passed that audition,
in 1947, to become his announcer, it
was one of the greatest thrills of my
life. However, he terrified me in the
beginning. I thought he meant all those
awful things he said! Some people,"
George adds, "have said that my deliv-
ery is similar to Groucho's. If that's so,

TV Surprise Package!

it's accidental. I don't try to imitate him
— that would be sudden death. There
can only be one Groucho. However, I
do find myself trying to 'marry off' con-
testants, just as Groucho does. It seems
natural to me; we all want everyone
else to be in the same boat we are . . .
married, that is.

"I learned from Groucho that it's im-
portant to know when to shut up and
when to listen. He doesn't open his
mouth until he knows exactly what
he's going to say. He's always been a
booster, and there is no doubt that my
very presence on his show all these
years has given me acceptance by an
audience. Yes, Groucho has helped
me," George acknowledges.

"The new show is exciting to me be-
cause it is such a challenge. One hour
before show time, while getting dressed
and made-up, I am coached by Stan
Drebbin, the associate producer, who
gives me information cards on the day's
contestants. These are the cards filled
out by the audience at every show. The
cards are screened, then interesting
people are interviewed at a later date
for appearance on the show. I myself
never see the day's panel until I step
out of the box at the beginning of the
show.

"Stan warns me about certain areas
which I should avoid while interview-
ing them — things which might prove
quite unfunny. For instance, he might
tell me about someone who has had a
recent death in the family. I then steer
clear of anything which might remind
the person of that. I am informed as to
the prizes and the clues — the clues are
really funny! The fellow who writes
them is Dave Vern, and he's one of the

No fair peeking — on TV. But, at home, George happily "kibitzes" a family
card game. At left, Georgia and Cliff. At right, Beverly and Mrs. Fenneman.

cleverest comedy writers I have ever
met."

The show is divided into two parts:
The contest and the interviews. In the
contest, three people attempt to guess
the contents of the Surprise Package,
aided by a series of clues with a dimin-
ishing degree of difficulty. George tells
them the retail value of the prize,
which is flashed on an automatic ma-
chine, and the amount is decreased
each second the contestant uses while
asking questions. Whatever amount re-
mains registered on the machine, when
the winning contestant finishes, is a
bonus prize. Winners may elect to take
the money, or to take a chance with the
"jack-in-the-box" which sits on their
desk.

There are at least three games on
each show, and George conducts the
interview session immediately after the
first game, with all the sharp wit and
warm tact for which he has become
justly famous. He teases the people a
bit but always guards their dignity.

One day, he had three expectant
mothers on the show. The first woman
told about her difficulty in achieving
her present condition — and gave all the
credit to the doctor. The second woman
said that she had the same doctor — but
that he (the doctor) didn't have any-
thing to do with it. This naturally drew
a big laugh. George walked right into
it, when he asked the next woman if
she, too, had the same doctor. This con-
testant said that she had a different
doctor, but wasn't sure whether he had
anything to do with it or not.

"How did I get out of that one?" asks
George. "I used the old standby line —
'And now it's time to play another
game' — what else could I do?"

He got off a good one himself, one
day, when a contestant from Texas told
George that her father was known as
"Tex" Weinberg. George snapped back
with, "Oh, yes, I've heard of his ranch.
Isn't it the 'Bar Mitzvah'?"

The machines used on the program
were much more expensive than they
look, and are quite ingenious. (They
should be. They cost $35,000.) The Sur-
prise Package, itself, is almost room-
size and is opened at the beginning and
end of each game to show the audience
its contents. The very beautiful Carol
Merrill poses with each prize, be it a
skin-diving suit or a pearl necklace.

Each game requires a complete
wardrobe change for Carol and, al-
though the time of one minute has been
ample in most cases, there have been a
few narrow squeaks. In the case of the
skin-diving suit, she had to change
from an evening gown, and the opening
of the package almost caught her with
her suit down. When she "modeled" the
necklace, the wardrobe department
knew that her next change was going to

take several minutes, so they substi-
tuted a manikin dressed exactly the
same as Carol. As the box opened, the
dress slid completely off the dummy,
leaving George and the audience with
wide open mouths, until they realized
that they were gazing at a manikin —
not Carol! — dressed only in a necklace.

With the changing of prizes, jack-in-
the-boxes, clues, and all the rest, the
show leans heavily on the topnotch
services of its ace prop man, George
Bye. "This man," says Fenneman,
"runs about two miles during a single
half-hour show, without leaving the
stage area. I don't envy him his job!"

George has no fears about "rigging"
or about being connected with a
"crooked" show. "We have built-in
regulations which would never allow it
to go the way of those other shows. We
have a limit of $500 on prizes — many
times, they are valued as low as ten
dollars. One prize was a year's supply
of garlic. I don't think anyone would
rig a show for that prize! Another
built-in guard against greed, and its
companion evils, is the policy against
'return' contestants. And our selection
staff watches carefully for any of the
so-called 'professional' contestants."

The prizes are frequently very fun-
ny. Audiences roar when someone wins
a year's supply of pretzels or a year's
supply of mustard. In both of these
cases, the jack-in-the-box prize was
worth much more than the main prize.
They were, respectively, a portable bar
and a year's supply of frankfurters. In-
cidentally, a pair of room air-condi-
tioners went with the garlic, which
brightened the winner's prospects con-
siderably!

"Everyone seems to like the show,"
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that rumor will have to be seen."

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(Continued from page 30)
female singer in the world. A few rea-
sons why our Miss Francis merited this
distinction: In England, she's won five
"silver records" — the European quar-
ter-million milestone, equivalent in
prestige to the American million-mark
"gold record." In Germany, "Every-
body's Somebody's Fool" — for which
she earned an American "gold record"
— made history by selling some 600,000
copies. Her record sales in Australia
have soared past the 100,000 mark —
an outstanding figure, considering that
less than 800,000 discs are bought there
annually. Three out of every four pop
records bought in Scandinavian coun-
tries are Connie's. She visited Italy for
the first time last March, stayed for a
week, and made three public appear-
ances. By mid-April, her "Jealous of
You" had leaped in sales from 40,000 to
105,000 and reportedly was moving at
an unprecedented 1,000 copies a day. In
South American record shops and pop-
ularity polls, the consistently heavy
favorite is Connie Francis. A first trip
South of the Border is on her agenda
for this year.

Connie's international popularity is
also reflected in a gigantic bulk of per-
sonal mail. Some 1,000 of the 7,000 fan
letters that flood her offices each week
bear foreign postmarks. She personally
reads every letter and — aided by her
secretary Sandy Constantinople, assist-
ant Judy Kaye and girl-Friday Pat
Karafky — makes sure that everyone
who writes gets an answer.

Connie is as conscientious about
reading fan mail as President Kennedy
is in keeping abreast of current events.
She reads during every possible spare

minute. In Sardi's, a magazine inter-
viewer is a few minutes late; Connie
fumbles in her purse for letters. A cab
taking her from a dancing lesson to a
recording date is held up in traffic; she
expertly juggles a roast-beef sand-
wich and a letter, dictates answers to
Pat or Sandy between bites. In the
beauty parlor, while other women reach
for magazines, Connie reaches for fan
mail.

At home, there's always a big batch
on the kitchen table for Connie to read
during supper. "I tell her," sighs her
mother, Mrs. Franconero, "you should
eat while it's hot and stop worrying
about those letters. But Connie, she's
a fanatic with that fan mail."

In Connie's office, a long phalanx of
filing cabinets is reserved exclusively
for fan mail. Pat, an easygoing, cheer-
fully dedicated young lady of twenty, is
keeper of the key. Pat and Connie have
been good friends since 1956, when
they met at Belleville (New Jersey)
High School and Pat started the first
Connie Francis Fan Club.

In 1958, right after Connie's first big
hit, "Who's Sorry Now," there were ap-
proximately fifty letters a week, mostly
from teenagers who wanted auto-
graphed photos and advice on how to
start Connie Francis fan clubs. By late
'59, some 1,000 letters a week poured
in.

Approximately one -fourth of the
week's load comes directly to Connie's
West 54th Street office. The rest is sent
to MGM Records on Broadway. Every
other day, a special MGM messenger
dumps a new box-full on Pat's desk.
Recently, we visited Pat after an aver-

Ring around Connie Francis and her global fan mail: Left to right — personal
secretary Sandy Constantinople, gi\l-Friday Pat Karafky, assistant Judy Kaye.

age Wednesday morning deluge and
we found her literally up to her elbows
in a bulging carton box.

"I'm getting it sorted," Pat said.
"First, I divide it into 'domestic' and
'foreign,' then categorize it by 're-
quest' " She fished out a swollen pack-
et of light-weight air stationery — the
foreign mail. She snipped the cord
binding it and a few hundred sheets
fluttered to the desk. She picked up
the first one and giggled. It was ad-
dressed simply, "Conny (the European-
ization of her name) Francis, Amerika,"
and bore a German postmark.

"Connie's getting a fantastic amount
of foreign mail these days — almost five
times what it was last year." It's heavi-
est from England and Germany, possi-
bly because movie magazines there and
here have linked her romantically with
England's top recording star, Adam
Faith, and Germany's TV and disc
hero, Peter Kraus. (To any fans who
ask about her "future" with either
young man, Connie pens a prompt
denial. "They're wonderful and very
talented guys," she repeatedly writes.
"But we're just good friends — period!")

Most across-the-seas admirers write
to congratulate Connie, and always beg
for autographed photos. Whether the
return address is Yugoslavia, or the
island of Bali — or Dublin, Hong Kong,
the West Indies, Brazil, Holland — the
sentiments are similar: "It affects me
so much, your voice. That's why I have
all your records . . . I'll give anything
just to see you once . . . Here all the
teenagers love you and we hope you
will enjoy hearing that you are the top
singer . . . We wish you would some-
day come to visit us . . . I'd love to work
for you. Your secretary is a very lucky
girl ... I have 21 discs, 2 EPs and 3
LPs of yours and 420 photos which I
have got from musical papers and from
pen friends in several countries . . .
Your record stood for eight weeks in
the first place here. ..."

"Foreign fans have a different con-
ception of stars," Pat explains. "They
feel it's an imposition to ask for advice
or confide personal problems."

It's mainly Connie's American pen
pals who really pour out their hearts to
her. A sturdy steel structure labelled
"Special — Save" houses a gigantic col-
lection of pleas for guidance and dis-
traught confessions from thousands of
trusting, troubled young folk, who re-
gard Connie as a super big-sister and
adviser: "I feel I can tell you things I
would never tell anyone else ... If I
ever need advice, I'll always come to
you, Connie . . . Even though I've never
met you, I feel as though I'm part of
your family . . . You're the only one
who understands me . . . What I wish
and pray is that someday I'll meet you
and your wonderful family and that

we will then become close friends. . . ."
We asked poll-taker Pat if there's
been any change in Connie's American
mail — aside from quantity. Pat nodded
thoughtfully. "There's been a re-shuf-
fling of age groups," she said. "About
twenty-five percent now comes from
kids under thirteen — mostly boys. (It
used to be closer to fifty percent.) She
gets almost fifty percent from fans in
the 14-22 group — mainly girls. That's
a ten-percent rise over last year. This
year, adults have joined the bandwagon
to the tune of twenty-five percent. Be-
fore, Connie's adult writers contrib-
uted less than ten percent."

Pat also reports that there's a new
trend in the nature of "problems" Con-
nie is asked to "solve": "Most of the
letters from teenagers used to be kid
stuff — you know, how to lose weight,
how to snare a boyfriend, or get bet-
ter grades in school. There's still a heap
of that. But, in the past year or so, she's
been getting more questions about
growing up and about deeper family
crises — stuff that required an awful lot
of thought and real maturity to an-
swer. The kids figure Connie's been
through the 'trying years.' They want
to know what to do, to turn out as
happy and well-adjusted as she."

And so, within the gunmetal-gray
confines of "Special — Save" are such
confidential messages as: "I'm nineteen
now. I've been married for two years. I
was very much in love with my hus-
band. Now I have a little boy and my
husband is out of a job. Sometimes he
comes home and beats me. Please, Con-
nie, I have always been your fan and
admired and trusted you. Can you help
me?"

As with every deeply-troubled fan,
Connie tried to reassure — "I know you
are the kind of person who will make a
wonderful mother" — but never to di-
rectly advise: "Have you discussed this
with your minister? I'm sure he will
be able to help and guide you."

More frequent are appeals for ad-
vice like this: "I've seriously thought
about running away from home. My
mother and father don't understand me
. . . I'm fifteen years old and they treat
me like a baby."

Connie writes back, "I went through
the same thing. Sometimes it's hard to
get across to your folks that you're
growing up. Remember this: Your par-
ents love you and they want the best for
you. You've got to try to see their side,
too. Try to talk to them like you talk
to me."

Lately, there's much mail from fans
who started corresponding with Con-
nie when they were freshmen or sopho-
mores in high school. Now, they're on
the brink of graduation — and often in-
decisive about the future. A good many
of the career-guidance letters ask,
"Should I try to break into show busi-
ness?" Typically, an anxious young girl

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wrote, "I desperately want to be an
actress. But I have heard depressing
stories about movie and show people.
Connie, I know you're different. And
I know you'll tell me the truth. Are
movie people really bad? Will I be
making a mistake to try it?"

Connie shot back this reply: "I can
only speak from my own experience.
All the people whom I've met in show
business have been wonderful to me,
stimulating and exciting to be with.
That doesn't mean you won't find some
characters you wouldn't want to invite
home to dinner. But why pick on show
biz? There, are bums in every profes-
sion. If you feel you want to become
an actress, go to it. Don't let your pes-
simistic friends dull your silver cloud.
If you have the talent and you're will-
ing to work, you have a good chance
of making it."

Connie's youngest fans beg for pic-
tures, scrawl childish symbols of affec-
tion and sometimes announce their
love in strange ways — like the eight-
year-old boy from Florida, who solemn-
ly wrote, "If you have time, would you
please blot your lipstick on a piece of
paper and send it to me? I promise to
kiss the paper every night!"

Most young men write to ask permis-
sion to call for a date, if they come to
New York. Some would-be suitors are
far bolder: Connie gets about seventy-
five proposals of marriage a week from
guys she's never met!

The "Special— Save" file -is also the
haven for the thousands of letters Con-
nie receives from ill and handicapped
youngsters and oldsters, here and
abroad. A young man from Indonesia
reveals, "I can't walk since I had an
accident in a motor race and your rec-
ords are the only thing that console me
in these sad, lonely days. Thank you for
giving me so much happiness. And God
Bless You!"

There is a steady stream of grateful
messages from parents, like this Levit-
town, New York couple whose invalid
daughter is a faithful Connie Francis
pen pal: "We lit a candle in church for
you last Sunday. May God grant you
your dearest wish. You have no idea
how happy you have made our daugh-
ter. Your cards and letters have made
her literally cry with happiness. We
will never be able to thank you enough."

Technically, a singer is a success if
she turns out hit records and packs
night clubs. But, in Connie Francis's
book, stardom means more than a wall
full of awards and a scrapbook stuffed
with press praise. It means giving up
sleep and hot dinners, postponing the
movie or the good book, to write the
letters of encouragement and sympathy,
to lend a sturdy shoulder for the prob-
lems of thousands. In the end, these
are the gestures that will live on in the
hearts of her fans.

Lucky O'Brien

(Continued from page 56)
"Pat O'Brien? Oh, yeah . . . well, we'll
see. The public wants young faces. And
our product . . ." In most cases, these
inane words were spoken by some
blight boy who probably wasn't even
born when Pat O'Brien made his star
debut in "The Front Page," in 1931.

But Pat, proud as he is, is not one to
hold a grudge, nor is he one to sit back
and wallow in self-pity, remembering
about "the good old days." He took all
the Madison Avenue slurs with a grain
of salt, and set about getting himself in
action. A motor-oil company offered
him a chance to do thirty-second "spot"
commercials on film for their product.
Sensing it as an opportunity, and not as
an insult to an established star, Pat said,
"Sure. When do we start?"

The commercial was shot, and it
played in millions of homes, to people
who began to say — when they saw his
smiling face — "Hey, there's Pat O'Brien!
I wonder where he's been these past few
years?" The powers-that-be discovered
that the long-famous star was anything
but forgotten. As Pat says, "Then some-

GIVE—

Strike back at Cancer

body took another look at those pilot
films. And, though they didn't buy the
series, they decided I might still be a
pretty useful guy to have around. So
. . . Harrigan & Son became my next
job."

Now, with Harrigan in full view on
TV, the phones in the O'Brien house-
hold have been ringing again. But Pat,
ever the canny Celt, has found out who
his friends are, and who talks to you
when things aren't going so good. "It's
a funny business," he shrugs. "When
you're 'hot,' everybody wants you.
When you're 'cold,' they forget you ever
existed." Through all the tough times,
however, Pat had one staunch admirer
— the lovely Eloise Taylor, who, for
thirty years now, has been Mrs. Pat
O'Brien.

Mother of Pat's four children, and a
woman of plucky spirit, Eloise knew
how disappointed Pat was with many
of his fair-weather friends who had
suddenly dropped him and she gave him
the lift he needed during those dark
days when he was the forgotten man of
Hollywood. "Elly was the bright spot
through it all," says Pat. "She never
quit on me, not once."

Now, with Pat's career once again
moving along in high gear, the O'Briens
still call friends who are not so for-

tunate as they, at the moment. Pat also
gives of his experience and knowledge
to the younger people. He has helped
Roger Perry, who plays his son on Har-
rigan, in many ways, while pointing
out: "Roger is a natural. He doesn't
need to be shown how to act, he does
it instinctively. I just teach him an old
trick or two."

The "old trick or two" has taken Pat
a lifetime to perfect — or at least thirty-
five or so acting years — and Roger says
gratefully, "Pat's been a great help to
me. What he's forgotten about acting is
probably more than I'll ever know."

Now, things look good for Pat. But,
in his own heart, they never looked bad.
"The only trouble was, I kept getting
typed at first, then later they forgot to
even type me." The O'Brien humor
works even against himself.

When he first hit Hollywood, Pat was
almost tabbed as a "professional Irish-
man," what with the dozen fast-talking,
nice-guy Celtic roles that Warner Bros,
made him play. "Or," Pat recalls, "I
was usually battling Jimmy Cagney for
the girl, and losing ... all in uniform."

The wonderful Cagney-O'Brien pic-
tures of the 1930s, in which the boys
were usually decked out in khaki or
Navy blue, got Pat a host of admirers.
But he became typed almost to extinc-
tion— until he was given the chance to
play the immortal Knute Rockne, the
Notre Dame football coach who died in
a 1931 air crash. "They were a little
hesitant at first," says Pat, "but it
turned out pretty good."

"Pretty good" is the understatement
of the year. The Rockne biography was
a smash success. And Pat O'Brien soon
found himself typed as "the coach"!
"Every athletic picture that came up,
they said, 'Get O'Brien for the coach.' "

Then, during the war years, he be-
came "the skipper." ("Back in the
uniform days again. But, this time, with
a raise in rank.") Pat skippered a dozen
ships to safety, and led an army of men
into battle, and usually came out on top.

When the war ended, the Hollywood
brass decided to take away his medals.
So Pat did city cops for a while. And
he usually got his man. "Wasn't a pub-
lic enemy I couldn't handle," he grins.
But, one day, the string ran out. There
were no more friendly Irishmen, foot-
ball coaches, naval heroes or smart cops
left for him to play.

It was then that the O'Brien house-
hold became a quiet place, and a house
where the phone seldom rang — except
for Jimmy Cagney, or Spencer Tracy,
or Frank McHugh, asking how he and
Eloise and the kids were. But, as Pat
says, "It's a good thing for anybody. It
lets them know where they stand with
a lot of people." And now, with Harri-
gan doing the talking for him, Pat
knows where he stands.

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(Continued from page 47)
"Bud" Counihan, famous newspaper
cartoonist, and her mother is a Mc-
Carthy) decided that Anita and her
sister Francine, a year younger, should
stay with their grandmother in Wash-
ington, D.C., and get away from the
persistent New York swains who were
crowding around and interfering with
their school lives.

In Washington, the girls went to
finishing school, were often noted in
society columns as participants in char-
ity affairs and parties. With two school
friends, they decided it would be fun to
apply to a Washington department store
which was giving a fashion show. They
got the jobs. "We thought we were get-
ting the work on our talents, but we
weren't good at all, against all those
professional models. The store took us
because we knew so many debutantes
who would come to see us, and then
buy."

Anita was sure she would be let go
after the show. While she was pinning
a dress to make it better fit her slim
height (she's five feet, six-and-a-half
inches) , someone made her laugh heart-
ily. Three pins she was holding between
her lips disappeared. "I've swallowed
some pins," she wailed. They hustled
her to a doctor, but the x-rays showed
nothing. "I can't go back to the store
without those pins," she told the doctor.
"After all that fuss and excitement!"
But the store took her back, sent her
from department to department for
training.

One week, she might be selling pearls
in the basement, hitting them with a
hammer to demonstrate they were un-
breakable. College boys came in to
watch — boys she dated, boys who
wanted to date her. They made wise-
cracks as she went through her sales
routine. But she kept right on. Her
sister had already given up: "Fran-
cine is married now to a wonderful man,
has two lovely children, and loves the
life she leads." The two other girls who
started with them would stay out when-
ever dates seemed more important than
work, and soon were fired. Anita took
the job seriously — until her parents de-
cided it was time for their daughters
to come home to New York.

Back in New York, Anita became a
topflight model, and the inevitable hap-
pened: Hollywood "discovered" her and
RKO Pictures gave her a contract.
"Girls like Lucille Ball and some other
famous names were on the lot then.
I was supposed to be the one who would
be the big star. I got more money than
they did — and thought it was too little,
because in New York I had earned top
T modeling fees."

„ She had some unexpected and some
priceless help from her dad's newspaper

pals. "Some of them much older than
76

I was, delightful, protective, wonderful
to me." Columnists mentioned her name
frequently. She had escorts galore. A
waggish admirer christened her "The
Face." The name helped make her
famous. That first phase of her Holly-
wood career should have been a great
success. "I was young and I don't think
I was too interested in acting," she
confesses.

When she arrived in Hollywood,
Katharine Hepburn was doing the
movie, "Mary of Scotland." Anita had
just two acting lessons to get ready for
her screen test for a small part in the
film. "All I did was fall down twice
and scream once, and that was about it."

The studio put her in a play with
Lucille Ball — part of their training for
stardom. Plays were given in a little

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theater right on the lot. On the night
of her first performance, writer John
O'Hara escorted Anita to the stage
door. "Are you frightened?" he asked.
"Oh, no," she told him. "All I do is say
a few lines." But her role was that of a
sophisticated woman. The deep decol-
letage of the costume embarrassed her.
She had a hat with a huge feather, a
silver fox fur that kept slipping off her
shoulders, and a ring with a large
"diamond."

Anita was uncomfortable but, as the
play progressed, threw herself vocifer-
ously onto the part. Too vociferously.
"Just as I started to say to Lucille Ball,
'You did murder my husband,' the
stone dropped out of my ring and the
feather fell out of my hat. Fascinated,
frozen to the floor, I watched the dia-
mond roll to a stop. They all know

more about acting than I do, I thought.
Let them cover up."

She was aware that the studio judges
of these fledgling performances were
watching every move. Her silence made
it look as if Lucille had missed her
lines. She didn't intend that — but she
couldn't speak. Besides, without re-
alizing it, she had skipped six pages of
dialogue, confused by a similarity in
lines. Lucille had to go to the wings
to be prompted for her next speech —
which was the equivalent of "Shut up."

"The phrase wasn't very appropriate
by that time," Anita says, "because I
hadn't opened my mouth for minutes!
When I came offstage, I heard Lucy
say, 'Just let me tell that girl off.' I
sneaked away, found O'Hara and an-
other friend, Charlie Lederer, standing
in the shadows near the stage door.
'Why are you hiding there?' I asked.
'We're making believe we're not with
you,' they laughed. 'After that sham-
bles you made of the play, you just
blew yourself right out of Hollywood!' "

She hadn't. Eventually she blew her-
self into one of its finest jobs. But when
"Wildcat," starring the famous TV and
movie star, Lucille Ball, opened in New
York last season to become a long-
running hit, Anita sent her an opening-
night wire. It read: "I bet you're glad
I'm not in this one."

Before leaving Hollywood — after a
number of pictures, but no smashing
success — Anita took a screen test at
Paramount. "I don't know why, because
I didn't even wait for the results." Back
in New York, riding one evening with
her brother-in-law and sister, she
tuned the radio to a Winchell broad-
cast. "Calling Anita Colby," he was
saying. "Return to Hollywood immedi-
ately. A contract with Paramount is
waiting." When she got home, she found
the telegram. But she didn't go back —
not until three years later.

A good business head and executive
ability led her to a job on a famous
fashion magazine. She said she would
take the job if she got a percentage on
every advertising page she was re-
sponsible for bringing in. "By the end
of the year, I was doing so well that
the executive who hired me said he
would swap desks with me."

Columbia Pictures wanted her for
"Cover Girl," with Rita Hayworth and
Janet Blair. (Anita's sister Francine
also played one of the cover girls.) Be-
sides a starring role, Anita was adviser
on the film, sat in on script conferences,
handled the public relations and ex-
ploitation, toured on behalf of the pic-
ture to fifty-six cities throughout the
country. The picture was a great suc-
cess, and she was a success. This led
to work for other companies and other
movies, more cross-country tours and
exploitation, talking to groups of peo-

pie in stores, women's clubs, on radio —
and seeing some of her newspaper
friends.

David Selznick made her ''feminine
director" of his studio. "It meant I was
jack-of-all-trades and head of the
Trouble Department." She was beauty
adviser and fashion expert for all his
stars and starlets. During this period,
she was also beauty editor of Photo-
play magazine. A cover story in Time
called her "the one-woman finishing
school." She worked for Paramount
Pictures as executive assistant to the
studio head, with accent on beauty,
make-up and fashions, and on picture
exploitation.

By the end of 1949, Anita wanted out.
She wanted to go back to the East. Her
life on the West Coast had been vivid
and rewarding, in many ways. She had
been a witness to the discovery of Lana
Turner, when Billy Wilkerson, owner
of The Hollywood Reporter, asked Mrs.
Wilkerson and Anita to "come in and
see someone in this drugstore." But
Anita doesn't think her powers of selec-
tion were working very well in those
early days. "Lana was sipping a soda,
just as they say. She was wearing a
shabby sweater, and she looked like
any other unusually pretty schoolgirl
to me. But Billy saw something else
in her, and took her to see Mervyn
LeRoy at Warner Bros."

When Anita is asked if she thinks the
pressures and demands made upon
stars, who start in the business young,
tend to spoil their later lives, she has
an answer: "Look at Shirley Temple.
She was a wonderful little girl and

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she's a wonderful woman now." She
doesn't think the explanation is always
that simple, however. "There's more to
it than just the pressures. Some of these
girls were spoiled, to begin with. Some
young people out there get much too
much. Hollywood itself is too much.
It's a complicated situation." She cites
some stars who are victims, she be-
lieves, of the "too-muchness." She also
cites Grace Kelly as a girl Hollywood
would never have spoiled. "Her train-
ing, from the beginning of her life, was
too good," she says.

Since Hollywood, Anita has headed
up a syndicated women's news service,
acting as its president for several years,
contributing a beauty and fashion col-
umn, selling the service to newspapers
across the country. Just as she did for
movies that interested her. She has
been associated with a firm dealing
with public relations. She thinks she
has a flair for directing people, without
making them think she is "bossy."

"This is especially helpful if you're
working with men, who naturally dis-
like being bossed by a woman," she
notes. Anita believes there's a big place
for women in business, but they should
"complement" the men — and she em-
phasizes that the word she means is
spelled with an "e" and not an "i." She
thinks that women who find other peo-
ple interesting will never be bored. "I
never started out to meet 'interesting
people' — the people I met became in-
teresting to me."

Nevertheless, Anita knows literally
hundreds of people the world calls
famous — writers, artists, statesmen, ac-
tors. Her apartment in New York is
filled with paintings and photographs.
Mostly of close friends, but a large oil
portrait of Anita, by Paul Clements,
hangs over the mantel. She cherishes
souvenirs, old letters, photograph
albums — mementoes of trips and of
friendships.

Her parents live with her, and a
miniature gray French poodle, "Bou-
ton," whose shiny black-button eyes
and little button nose account for his
name. Although she has been engaged
— and many times rumored engaged —
she is single, thinks maybe it's because
she has always been happy surrounded
by family affection and involved in her
work. She has as many men friends as
women, thinks life would be very dull
without them. She believes a woman
needs a life outside her job. "I give
everything to whatever job I'm doing,
at the beginning. Then I expect it to
fall into place with everything else. If it
doesn't, it's not for me."

Anita Colby, a girl who has done a lot
of fabulous things and had a lot of fun
doing them, is still not blase about any-
thing. She wouldn't know how to pre-
tend to be. She couldn't "put on an act."
As she says, "If I did, my friends would
laugh me right out of town!"

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fck

(Continued from page 45)
job — if he was ever fit to get up at all.
But the doctors kept after him and,
almost before Marty knew it, he was
trying to get himself off the edge of the
bed, although even that simple act was
a major effort for his polio-ravaged
body. "One day, I made it out of bed
by myself," he says, "and I figured
maybe I had a chance to recover my
lost career, as well as get back to near-
normal health."

There were endless hours of physical
therapy, whirlpool baths, massages, en-
couragements— and many, many dis-
appointments, just when it looked as if
Marty might be making it back along
the road to recovery. But, in the next
six months of back-breaking recupera-
tive work, he learned the meaning of
discipline and stick-to-it-iveness.

For every step forward Marty made,
he was sometimes forced to fall back
two steps. Then, one day, he took the
upper hand and began to take two and
three steps forward for every step he
stumbled backward. "Finally, after I
felt I might be strong enough, I went
down to see my agent to see if I might
start working again."

The encouragement he got from his
agent was like a tonic for him. He got
a small part, shortly afterward, in a
minor movie. But, to him, the important
thing was that he was working again.
A dozen small and large films followed.
Then, as fate would have it, once again
his career was interrupted by an un-
foreseen circumstance. "The war in
Korea was on. And so I got an Army
call. Once more, I said 'so long' to
Hollywood and a career I thought might
never run smoothly for me."

You'll Never Walk Again

While in the Army, Marty put some
of his time to good use. He directed a
series of training films, which kept his
hand in the movie game, in an indirect
way. After his Army hitch, Marty
came back to a Hollywood which tends
to forget a face that's been away, even
for a short time. "I had to start all over
again to prove myself to people I'd
known before."

Upon his return, things were a little
tough. Casting agents with short mem-
ories forgot the boy who'd made such
a fine impression before — it was as if
they were seeing him for the first time.
Marty worked a few minor and unim-
portant parts, at first, then got into a
slew of TV roles which brought his tal-
ent to the attention of some Warner
Bros, higher-ups. They called for him
and, in no time flat, Marty was cast op-
posite Natalie Wood and Gene Kelly
in the studio's biggest production at the
time — "Marjorie Morningstar."

All the while his career was moving
up, Marty kept his eye on a pert girl
named Judy Jones, who was his num-
ber-one rooter, as well as a fine TV
actress and singer. Afraid she wouldn't
be around forever, Marty one night got
the courage to pop the question. She
said she'd marry him, and it seemed as
if the sky had shot off a thousand
rockets for Marty at that moment. "I
was a little worried," he admits. "She
could have always said no."

As if receiving a wedding present,
Marty got a call to do "Sweet Smell of
Success," with Burt Lancaster and Tony
Curtis. He was the jazz musician who
was in love with Susan Harrison, Lan-
caster's young sister in the film. In the
end, Marty got the girl — after having a

Marty Milner with two of his favorite pin-ups — wife Judy, daughter Amy.
There's also a baby girl, born in midst of Route 66 travels this year!

•>•>

hard tussle — and his stock went up
around movie studios.

All the while, he had been doing some
of the more important TV shows, and
turning down series offers because the
right one hadn't come along, as far as he
was concerned. Then, all at once, things
began to happen in the Milner house-
hold. Little Amy was born and, with
the new baby in their Sherman Oaks
home, Marty felt like a man of responsi-
bility. He planned Amy's future long
before she was able to talk, even en-
visioning her going to college at the
University of Southern California,
where he himself had been a student,
after having attended North Hollywood
High School.

"Then, one day, I got a call about
Route 66, and I debated whether to talk
about another series. But I went in,
anyway — and it was my luck that I did!"
The whole premise of Route 66 appealed
to him, the idea of two wayfarers ram-
bling around the country, picking up
adventure where it falls, caught his
fancy. Then New York actor George
Maharis was brought out to co-star
with Marty, and the series was off and
running.

"One of the problems for me, of
course," says Marty, "was what to do
with my family, since the show was al-
ways being shot in different cities, and
we would never be in the same place
too long." Judy herself decided — along
with Marty — that the separations were
not worth it. So she and Amy went
along with Marty wherever the show
was being filmed. Marty considers this
a smart move, since he believes too
many show-business marriages have
been ruined by long separations. "With
us," he says, "our marriage always
comes first."

One of the things about Route 66
which appeals to Marty is that he and
George get along so well. "There's noth-
ing worse than having to work steadily
on a series with someone you don't hap-
pen to hit it off with. Thank heavens,
George and I don't have that problem."

If George, who's a fanatic on painting,
wants to tell Marty about the latest
geniuses in the art world, then Marty
is more than willing to listen. Or, if
Marty is inclined to talk about the latest
cute remark his Amy has uttered, then
George is his best audience. "It works
out pretty well with us, and we don't
have any problem communicating with
each other."

For Marty, that makes it just fine.
But one of the bleak periods with which
he doesn't burden people — unless it is
to encourage those similarly handi-
capped, and despairing of future hope —
is the day they told him: "You'll never
walk again."

Marty made them eat their words.
With relish, all around!

Hunch Hunters

(Continued from page 51)
"really remarkable" spring-like talent.

Chris stumbled across the jumping-
jack while interviewing his mother in
the Goodson-Todman Park Avenue of-
fice. "Can you hop on one foot?" asked
Chris. "Yeth, I can," said the boy.
"Let's see," said Chris. The boy then
proceeded to hop fourteen times. On
the show itself, it seemed the youngster
would never stop hopping. He did at
least seventy -five hops, before Merv
Griffin smilingly called a halt to his
kangaroo-ing.

On another occasion, Susan rounded
up an adorable four-year-old girl. Min-
utes before she was to appear before
the cameras, the youngster locked her-
self in the ladies' room and refused to
come out. Susan tried everything, but
the girl was stubborn. Finally, Susan
had to grab another youngster from a
nearby studio, for the show.

Last-minute emergencies are not un-
expected by the spotcasters. It's not an
uncommon occurrence for a participant
not to show up because of illness or
nervousness. In such situations, one or
more of the Hunch hunters will speed
downstairs to where the NBC tours
commence. "Would you like to go on
Play Your Hunch?" Anne breathlessly
asked a man on fine, one day. "I'd be
happy to," he smiled. "The very same
thing happened to me, two years ago!"

The spotcasters use other methods,
besides legwork, to line up participants.
They spend many hours on the phone,
calling such places as the Y.M.C.A.,
United Nations, Chinese Consulate, etc.
They also nag friends and relatives for
leads that will help them locate hard-
to-get people.

But it's the expending of shoe leather
that turns up the best participants.
Susan disdained the use of a phone
when ordered to find a bartender who
could sing. She started from Eighty-
Sixth Street and steadily worked down
Third Avenue to Fifty -Third Street

before locating a sweet -tonsilled whis-
ky-splasher. "I must have downed fifty
glasses of ginger ale en route," she says.
"In almost every place I went, some
customer would blearily shout, 'I can
sing, baby! How about me?' " Weeks
after the assignment, Susan still was
receiving calls from drunks who found
her business cards scattered in scores
of bars.

Susan's experience was a rare one, in
that she worked the job herself. Usu-
ally, the spotcasters prefer to operate
as a team. Chris explains: "When I
approach a girl, she'll be more inclined
to trust me if I'm accompanied by one
of the other office workers."

The feeling the Hunch scouts have
for their jobs is best expressed by Leni.
"We have much more fun than the
average person," she says. "It's difficult
to consider it 'work.' " None of the
spotcasters expresses any desire to go
on TV themselves, though all have had
some experience in front of the cameras.
Chris did some blackout bits on The
Jack Paar Show, prior to joining Play
Your Hunch. "I even have a fan club,"
he grins. "A lady recognized me, just
the other day, when she came up to the
office. How do you like that? A one-
person fan club!"

The affable bachelor denies ever hav-
ing asked any potential participant out
for a date. However, Leni reveals that
many gals have called up the Siena
College graduate. "I'm going to stay
single," laughs the six-foot 185-pound-
er, "until the chance comes to marry a
very successful star."

No one's asked Susan for a date,
either, probably because they were de-
terred by her wedding ring. One fellow
did make an offer in a roundabout way,
though. "He invited me to his home in
the Bronx for a spaghetti dinner," she
says. "I turned him down. I told him I
loved spaghetti, but I couldn't accept —
as it would definitely be considered
'payola'!"

"Why I'm Still a Bachelor"

(Continued from page 41)
alone. For Lee, now one of Holly-
wood's most eligible young bachelors,
intends to remain that way — for a
while, anyway, until he gets used to
"the American way of life." A strange
mixture of Old World courtesy, easy
affability and reserve, Patterson doesn't
make friends easily. "I'm a loner," he
admits. "I like people, but I don't par-
ticularly want the responsibility of
friendship. I don't like people who grab
on and demand attention. If I like
someone, I don't want to feel I have to
do something to prove it.

"Perhaps that's why I'm still a bach-

elor. I like women and I date a lot —
but casually. I don't like to be tied
down." Too, he finds a tremendous
difference between the women of
Europe and those he's met in Holly-
wood. European women, he says, take
you more on trust. "Women here seem
to play a sort of game. It may be great,
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I'm not going to make a pass at her,
even though there's an equal chance
that I might not! I think we should
both take our chances. It's a fifty-
fifty thing, no matter how you look
at it."

He believes five things are impor-
tant: Good manners, good friends, good
women, good wine and good food. "By
a 'good woman,' " he explains, "I mean
a lady who makes it possible for a
man to be a gentleman."

Here a little more than a year, Lee
finds the Hollywood pace much faster
than that of England, where Warner
Bros, first signed him to a contract.
"I seem to have less time to live and
no time to relax," he says. Weekdays,
he gets up at six, "make myself a ter-
rible cup of coffee, shower, and dash to
the studio for all-day shooting." Comes
Saturday and he's bushed. But, as a
bachelor, he has a million-and-one
household and personal chores to at-
tend to. "I have a houseboy who comes
in to clean — he plays a game of hiding
everything and, on weekends, I seek."

Marriage? "Sure," says Lee, "I'd
like to be married someday. I'm no nut
who wants to live alone forever. Lots
of times, I think I'd like to get married
right now. Especially when I get home
at night and it's kinda lonesome. But
I'm not really ready for it. Or maybe
I just haven't met the right one.

"All men aren't boys at heart, but
they do like to be spoiled a bit. It
would be nice to have someone around
to share things with, to anticipate your
wants, who knows how to kid you out
of taking yourself too seriously, with-
out deflating your ego. But I still have
some growing up to do.

"I have a lot of faults and I wouldn't
be easy to live with. Right now, I'm too
engrossed in my work. . . ." His voice
trails off and, for all his man-about-
the-world manner, his innate modesty
shows through as he adds: "You know,
I honestly find it hard to believe, when
a girl says, 'I love you' ... I don't see
how she can. . . .

"Let's just say I live with myself too
well," he laughs. "I can spend hours
alone painting, writing, listening to
music, digging in the garden or de-
signing something I want for the house.
I'm not much for parties, but some-
times I enjoy pub-crawling, by myself.
It's fascinating to watch people — and,
if I'm not recognized, to join in the
fun.

"Besides," he adds lightly, dismissing
the subject of marriage, "the commu-
nity property laws in this state scare
the devil out of me!"

Much of Lee's attitude on life might
be explained by his childhood. His
earliest memories are those of discord
and tension. One of four sons of Mr.
and Mrs. John Atherly-Patterson, he
grew up and went to school in Toronto
and "hated every minute of it." His

Lee Patterson says scripts are much
easier to "read" than Hollywood gals.

mother and father (a former London
actor now a Canadian banker) "just
didn't get along. They finally separated,
but I can still remember the incessant
quarrels. I still hate scenes of any
kind."

It was from his mother that Lee got
his taste for music, drawing and paint-
ing. His restlessness and aggressive-
ness came from his father, whom he
terms a "self-made man." Rebelling
against school discipline and horns
conditions, Lee ran away when he was
barely a teenster — "but big for my
age." He roamed all over Canada, be-
friended by professional hobos. "They
taught me how to hook my belt to the
catwalk of a train, three or four cars
behind an engine, and catch a few
hours' sleep," he recalls.

This was the period in which he
drifted about, holding down odd jobs
in order to eat. He remembers carry-
ing dynamite deep down a mine —
until, one day, the charges went off
prematurely and he narrowly escaped
death. Still in his teens, Patterson then
joined the Canadian infantry and
served in the European theater of war.
He was made corporal, and also be-
came the middleweight boxing cham-
pion of his outfit.

Next, young Patterson turned down
offers to become a professional ice-
hockey player, in order to study de-
sign and architecture at the Ontario
College of Arts in Toronto. For two
years, he designed the thirty -eight
papier-mache floats used on Toronto's
famed Santa Claus parade — until wan-
derlust hit him again.

"I was earning $350 a week and not

getting anywhere," he says, "so I quit
and went to England. I thought I'd get
a job at the British Broadcasting Com-
pany and study set design." He recalls
checking into a small London hotel,
looking out at the fog and thinking,
This is for the birds. He checked out,
flew to Paris, "took a few art courses
and roamed the Left Bank, Brussels
and Norway until most of my money
was gone."

Back in London and broke, Lee be-
came a truck driver, then supervisor
of a tough wrecking gang. "Came pay-
day and everyone — including me — got
into a big brawl with knives, bottles
and fists, and that was the end of that
job." He then decided to look for a
job by day and took a night job pack-
ing meat pies into boxes. "It was safe —
and monotonous. I lasted four days.
Then I got into an argument with the
packer next to me, hit him with four
meat pies, and quit."

"I guess," he explains, "in those
days. I was going around with a chip
on my shoulder, looking for trouble.
I made some bad decisions. I know
now it's better to gain maturity by
observation and study, not by kicking
around the way I did."

He finally landed a job with the
British Broadcasting Corporation as an
assistant stage manager — which con-
sisted of "running for coffee and run-
ning errands." One day, he stopped by
an agent's office to pick up a check for
an actor. The agent asked, "Are you
an actor?" "Yes," said Lee, ad-libbing
some experience.

His bluff was called when the agent
phoned, the next day, and told him to
report for an audition in an American
play. Lee dashed to the public library,
selected Thornton Wilder's "Our
Town" and studied it on the way to
Windsor's Theatre Royal (opposite
Windsor Castle). From his "reading,"
he was given the role of Happy in
"Death of a Salesman." Next followed
a role in "Johnny Belinda," for which
he also designed the sets. He made his
London West End debut when he be-
came Lt. Buz Adams in "South
Pacific."

His agent then thought Lee might

land a leading role in a musical if he
could sing. "Mary Martin sent me to
her singing teacher and I sang the
scales for him," Lee recalls. "I'll never
forget his shudder as he told me, 'If
you work hard for one year and prac-
tice eight hours a day, every day, you'll
have a voice like most people are born
with.' "

Undaunted, Lee went on to "read"
for a role in "Stalag 17" and was hired
as an understudy. After three days of
rehearsal, the producer, Buford Armi-
tage, cast him in the lead and advised
him, "Don't ever 'read' again, because
you can't — just stick to acting." Lee
has never "read" for a role since.

He went on to leading roles in many
London stage hits before being signed
for films in 1953. He has starred in
twenty-five motion pictures in Europe,
including "The Passing Stranger,"
"The Story of Esther Costello," "Gul-
liver's Travels," "Spin a Dark Web"
and "Jack the Ripper." It was shortly
after the release of the latter picture
in the United States that he was signed
to a long-term Warner Bros, contract.

.Lee intends to apply for his Ameri-
can citizenship as soon as he completes
the necessary residence period. He has
been renting a house, but recently
found a site high in the hills overlook-
ing the panoramic sweep of the city
from Sunset Strip to the ocean. He's
redesigned the builder's plans and is
impatiently marking time until he can
move into his lofty eyrie.

"The foundation is poured, the walls
are up, and, each night, there's some-
thing new. It's almost as if it's being
built by pixies, because there's never
anyone around when I visit," he grins,
grabbing a pen and quickly sketching
in the plan of a trim two-level, three-
bedroom house: A large living room
with picture windows and fireplace,
another fireplace in a wood-paneled
den-guest-room, a master bedroom,
guest room, and housekeeping quarters.

There'll also be a swimming pool
(small) and a kitchen (large). Does he
cook? "A bit," Lee acknowledges.
"But. like they say in Europe, I cook
like I love — all enthusiasm and no
skill!"

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The "No" Lady of ABC

(Continued from page 29)
NBC sold its Blue network as the nu-
cleus of ABC, Dorothy was moved in,
"desk, chair and typewriter." Today,
she is Director of Continuity Accep-
tance for ABC's Western Division,
supervising eighteen network editors
who clear more than thirty hours of
programing a week.

"Continuity Acceptance was created
as a department by NBC sometime in
the early thirties," Dorothy recalls.
"The word 'censor' was eliminated be-
cause of its sheer negative connotation.
People do not like censors." Wryly, she
adds, "Of course, they don't like Con-
tinuity Acceptance, either.

"C.A. editors are unique and rather
peculiar people. They have to be dedi-
cated, or they wouldn't stay in the de-
partment. Aside from the National
Association of Broadcasters' Code, we
have at ABC a program policy booklet
of about fifty pages, though the appli-
cable modifications, alterations and
exceptions would make a book as big
as a desk. Actually, however, we accept
ninety-five percent of the material sub-
mitted.

"Taste is a personal thing. It depends
on your age, your upbringing, your
education, where you live, in what part
of the country you live." This last con-
sideration Dorothy learned early in her
career, the hard way. It was shortly
after she came to Hollywood and Ed
Gardner was surprised and delighted
when she offered no objection to the
story with which he opened his show.
"I had lived practically all my life in
California," she explains. "I didn't
know what you did 'in Macy's window
at high noon.' "

She shakes her head good humoredly
at her early naivete, and continues,
"There are many comedians and stars
who, once you tell them they can't do
something, immediately do it. One of
the biggest vocal stars is especially in-
clined this way. The only way you can
handle him is through the cast. If you
can get the cast to laugh at him, he'll
eventually come around. Another, an
extremely famous comedian, is fine
until his wife is on the scene — and then
he won't be changed, in front of her.

"Several comedians have said to me,
when I've wanted to change their ma-
terial, 'Have you ever made a million
dollars? Well, when you have, you come
and tell me what's funny!'

"Many stars have become famous in
motion pictures or on the vaudeville
stage, where they use material that isn't
acceptable but — because they got ap-
plause and a big laugh — they decide it
must be all right. Hedda Hopper
wouldn't believe it, either, if I said I
didn't like her hat. She'd probably say,
'What do you know about hats?' It's
the same thing — a matter of personal

opinion — just as there are no iron-clad
rules about what is acceptable on all
types of programs at any time of day in
every part of the country."

It isn't only the stars and the writers
who run afoul of the acceptance depart-
ments. TV has absorbed a great many
motion-picture people who were accus-
tomed to more freedom. The makeup
man new to television will haul out a
bucket of "blood" when the script indi-
cates a violent death — or create a mas-
terful horror mask for an actor who
falls into an electric transformer from
which "his crackling, crinkled, burned
body drops to the floor"! (This was
a scene, indicated for a close-up shot,
which Dorothy recently marked "not
acceptable.")

Actually, Dorothy and her fellow
editors are not out to butcher any show.
They serve to remind the star and the
producer that good taste must be ob-
served, and to challenge the writer and
the director to find a new way to make
their story points without offending
segments of the audience. "Occasional-
ly, we are even thanked for this," Doro-
thy says. "I have had them tell me,
'When you said no, we came up with a
better line.' "

Continuity, radio and networks were
furthest from Dorothy's thoughts when
she first saw San Francisco. She had
worked her way through College of the
Pacific at Lake Tahoe summer resorts.
Originally, she had wanted to study
medicine, but medicine is an expensive
dream for many, and she had settled
for a high-school teacher's certificate.
She was on her way to her first teach-
ing job at Sebastopol, California, by
way of San Francisco.

"I don't know what happened to me,"
she says, "except I fell in love with
San Francisco. This is a thing that
comes over you when you are twenty-
one and hit the big city. I didn't know
anybody, I arrived with my violin, my
teddy bear — and five cents, with which
I took the streetcar to the Evangeline
Home. There, for eight dollars a week,
you could have breakfast, dinner and a
bed.

"Then I wired my father — who re-
plied that, if I didn't teach school, I
could expect no help from him. So I
walked up the hill to Heald's Business
College and asked how long it took to
become a secretary. They told me nine
months. I didn't have that long, but we
figured out that, if I could make enough
money to pay for my lunch and carfare,
I could make the grade.

"I went out Sutter to Farrell, upstairs
to a dime-a-dance place where, for a
dollar an hour, you danced with any-
one who came in. That's how I got
through business college in three
months. I didn't know anyone, so I sat
and wrote shorthand from 3 p.m. until

nine, when I went to work at the dance
hall. That's how you learn shorthand,
by writing it, and I did so well that
Heald's offered me a job teaching three
nights a week.

"By then, I had gotten a job with an
advertising agency. Within a year and
a half, I saved enough money to take
my mother on a vacation. When I came
back, I picked up my vacation check
and put it in my purse. During the
course of that afternoon, my purse was
stolen — I was given two weeks' notice
at the advertising agency, because the
account on which I was working had
been canceled — and the business col-
lege no longer needed my services.

"This was 1931. There was a depres-
sion, which became quite famous, as
time went on. I did exactly what every-
one else was doing: I walked the streets
and hit every employment agency on
both sides. Then, one hot summer day
in September, I applied for 'vacation
relief work at NBC. By January, I was
on the permanent payroll."

Dorothy recites the story of her life
with droll humor. That sense of humor
comes in very handy, for an executive
who must occasionally say "no" to
sensitive and/or temperamental crea-
tive talents. In addition, Dorothy really
understands the people with whom she
works. "They want dramatic effects,"
she explains. "They want to startle the
audience. They also want publicity. If
they can get a headline saying their
show is 'Unfit To Look At' — why, that
is delightful, because tomorrow every-
body goes and looks!"

Fortunately, the understanding works
both ways. The people to whom Doro-
thy must say "no" realize there is no
personal motivation on her part. Proof
of this is the fact that she is still called
"friend" by most of the greats of show
business, dating back from the heyday
of radio up to the present era of rapid-
fire television . . . proof which might
also indicate that the greatest asset of
Dorothy Brown — or of any good con-
tinuity acceptance editor — is tact!

Z Is for Zany

(Continued jrom page 39)

A puzzled fan once wrote to Frank
asking, "How do we tell you apart?"
Frank's answer was typical. "It's really
very easy . . . we always sit left to
right, with John at the left." Sprawled
at the bottom of this note was a post-
script by John. "It's better than sitting
arms akimbo, you know, and we al-
ways try to walk down the street with
me on the left, Frank on the right."
Came the fan's reply, "Whose left and
whose right you talking about?"

In Holiday Lodge, Wayne plays a
social director assisted by Shuster.
Maureen Arthur gives feminine allure
to the series, in the role of Frank's
girl friend. The series, CBS-TV's sum-
mer replacement for The Jack Benny
Show, is produced by Cecil Barker,
directed and written by Seymour
Berns, and filmed at Revue Produc-
tions in Universal City.

Called the "literates among comedi-
ans" by a critic — popped John, "I heard
of litterbugs but what are litter-rats?"
— both members of this Canadian team
are graduates of the University of To-
ronto, with master's degrees in Eng-
lish. Both are eligible to teach — "but,"
says John, "I don't think we could
keep straight faces long enough to be
taken seriously by any student." And
both are happily married, live in the
Forest Hill Village of Toronto about a
mile from each other, and prefer the
normal family life of suburbia rather
than the more glamorous surroundings
of Hollywood.

But, although the Shusters and
Waynes are close-knit friends, their
social interests vary. Frank is a golfer

while John is all for sailing. Their
wives, Ruth Shuster and Beatrice
Wayne, agree that this divergence in
hobbies has had the healthy effect of
striking a balance between the men.
"Too many teams break up after a
period of success," points out Ruth,
"because the partners do not get
enough chance to develop their sepa-
rate personalities." To this Beatrice
adds with a smile, "If it weren't for
each going his own way after working
hours, the Shusters' two children and
our three would begin to think they
didn't have a father like everyone else
but were sharing two fathers."

The Waynes have three sons — Mich-
ael, 14, Jamie, 11, and Brian, 9 — while
the Shusters have a daughter Rosa-
lind, 15, and a son Stephen, 11.

In the case of comedy teams, the
question always arises as to how they
arrived at their billing. Why Wayne
and Shuster and not the other way
around? Actually the team did start out
as Shuster and Wayne. "We had two
reasons," laughs John. "First, Frank is
two years older and I felt that en-
titled him to first mention. Second,
alphabetically he comes first. Then one
day — it was one of our first profes-
sional appearances in Canada — the
manager came backstage and told us
he'd changed it to Wayne and Shuster.
I argued, but he insisted, 'Boys, don't
give me that alphabetical bunk. Did
you ever hear of Burns and Allen,
Lewis and Clark, Laurel and Hardy?
They did all right, didn't they?' Well,
we went on as Wayne and Shuster, got
fine reviews and let the name stand."
(Continued on next page)

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When they began shooting Holiday
Lodge, the partners were not at all
sure they liked doing a series. Neither
had ever done filmed TV and it seemed
strange to toss the punch lines first
and tell the jokes after. Also, it was
the first time they were playing to
another's tune. Hitherto they had
written their own gags and devised
their own situations. A heart-to-heart
talk with Barker and Berns soon ironed
out the kinks.

"These men run a happy ship," John
explains. "I'm afraid we worried them
more than they did us. We fight a lot —
oh, yes, no need to hide it — we rant,
we rave, and, where sweet reasonable-
ness is in order, we'd much rather
argue. What's more, we like to do it
openly in front of everyone concerned.
The point is that it's our method of
topping a good line with something
just a bit better. We operate on the
theory that when the oyster is irri-
tated, he gives a pearl. But if some
third party thinks he can horn in on
our scrap and pick on one or the other
of us, he'll soon learn that we stand
together when the chips are down."

Neither of the comedians comes from
a theatrical family. Frank's father was a
movie projectionist and once owned a
theater in Niagara Falls, but that's
the closest he comes to show business.
John's father was a clothing manufac-
turer who wrote Hebrew poetry to ease
the artistic cravings of his spirit. Asked
how they got into the "make-merry"
field, John said, "You might blame it
on the Boy Scouts." He went on to add
that he and Frank had been classmates
and had joined the scouts together.
One day, their scoutmaster asked for
volunteers to write and act in a play
to raise funds for the troop. "We were

the only two to put up our hands,"
John chuckled, "and here we are . . ."

At Harbord Collegiate Institute, they
performed, wrote plays, the libretto
and lyrics for a musical (though they
have only a slim knowledge of music)
and soon, at the University of Toronto,
were doing plays and musicals of suffi-
cient skill to catch the ear of a radio
executive who saw to it that they went
on the air with their own show. World
War II came along, bringing to a tem-
porary halt their promising careers.
Separated in the service for over a
year, they were brought together again
to do a Canadian version of "This Is
the Army." As a morale -booster, their
troupe toured Canada and then Eng-
land, France, Belgium and Holland.
They were the first entertainment unit
to hit Normandy after D-Day. "We did
five a day in a cave near Cannes,"
recalls John. And Frank, nodding
gravely, adds, "All the boys had were
K-rations and us."

Having done so well in wartime, it
seemed natural to continue as a two-
some in peacetime. They returned to
Canadian radio and, in 1954, made their
TV debut. Rosemary Clooney had them
on her 1954 series, but nothing great or
wonderful happened until Sullivan, in
a commendable act of faith, signed
them to do 26 performances at $5000
each. They proved to be one of the
best bargains Ed ever made. But, in
gratitude for their big chance, they
never asked for an adjustment of the
contract, even after it was obvious they
had clicked.

Although they loved doing the ga-ga
stuff that made them both famous and
unknown, they are rather glad now to
become more recognizable to their
public via the Holiday Lodge series.

That Swingin' Singin' Tillotson

(Continued from page 37)
song," he says. "I don't believe in rush-
ing into a recording session. I have
written some new songs myself and
I've been talking to other writers —
Gene Pitney, Howie Greenfield, Aaron
Schroeder and Bob Crewe, to name a
few."

His voice warms with enthusiasm.
"They all have such great talent." He
cites the accomplishments of each. It
never seems to cross his mind that
each also is a rival. All, like Johnny,
constantly seek to sell their songs to
top artists. Bob Crewe and Gene Pit-
ney also record and thus are doubly
rivals for the public's favor. Yet, in a
business where feuds and jealousies
are frequent, Johnny has only frank
admiration for his contemporaries.

He also makes it clear that Archie
Bleyer, head of Cadence Records, is
his friend, as well as the director of his

recording sessions. "Tonight, I'll take
my guitar and go out to his house and
we'll try out a lot of songs. To be right
for me, a song has to tell a story and
I have to feel it. I can be more sure of
a song when I first sing it in someone's
home instead of just in a big box of a
recording studio."

Archie Bleyer became Johnny's
friend at a time he needed one. "I had
just lost a big talent contest in Nash-
ville. That hurt, because the prize was
a recording contract with a major com-
pany. I had aimed for that for years.
But lucky for me, Lee Rosenberg, who
owns Southern Belle Music Company,
heard me and he arranged an audition
with Archie Bleyer."

Johnny's first record, issued by Ca-
dence, was "Dreamy Eyes." That it
reached the charts was a big accom-
plishment for a new singer. "True,
True Happiness," followed by "Why Do

I Love You So" and "Earth Angel,'"
were hits. Then came the topper, "Po-
etry in Motion."

Johnny is glad that it took a while
to get the big record. "If my first one
had hit Number One, it might have
gone to my head. As it is, I've learned
some things."

"Learning things" is Johnny's favo-
rite occupation. The process began in
Jacksonville, Florida, where he was
born April 20, 1940, the son of Jack
and Doris Tillotson. He has two broth-
ers. Danny, eighteen; Tommy, fifteen;
and a little sister, Toni Ann, four.

Johnny, at the age of eight, was sent
to Palatka, Florida, to live with his
grandmother, Mrs. Ellie Causey. Ex-
plaining that move, Johnny says, "It's
kind of hard for anyone who did not
know us then to understand it. My
mother and her mother were very
close. My grandfather had just died,
and my grandmother was terribly
lonely. So my folks did the nicest thing
they could. They let me go to live with
her."

Contrary to possible expectations of
child psychologists, Johnny thrived. "I
remember I was sad the night I left
Jacksonville, but I had always loved
Ellie — I'd never called her 'grand-
mother'— and soon that little town was
good for me . . . Jacksonville may not
seem like much of a metropolis com-
pared to New York, but it was a big,
confusing place to me. I was a real shy
kid in those days."

Spirited Ellie Causey found a cure
for her grandson's shyness. Palatka's
radio station, WWFP, had a children's
talent program. Johnny says, "She liter-
ally had to lead me by the hand to get
me to go on it the first time. But then
the kids in school started saying, T
heard you on the radio,' and I liked that.
It was the first love and acceptance I
had from people outside my family."

His family remains close and im-
portant to Johnny. Of his mother, who
died when he was fourteen, he says,
"Even now, I don't like to think of her
being gone. When something very good
has happened to me, I keep wanting
to call her up to tell her about it."

Of his stepmother, he says, "When
Joyce gave us a baby sister, that was
a big event. We held a family confer-
ence to decide what to name the baby.
I guess I had the last word. We had
considered many names when I said,
'Toni Ann Tillotson — that swings.' "

At four, Toni Ann is Johnny's great
delight. "You can love little brothers in
a rough sort of way, but you can't dress
them up in a pretty dress and take them
to Sunday school. A little sister is dif-
ferent. Toni Ann loves me, too. When
she feels I've been gone too long, she
sets an extra plate on the table and
says, 'That's for Johnny.' "

His brothers come in for their share
of Johnny's abundant affection. "I keep

a list of their clothes sizes and when I
buy something for myself, I usually get
something for them, too."

His father is Johnny's real pal. "Dad
is the greatest. He keeps on running
his filling station, and, in between gas
fills and oil changes, he writes to me.
He writes just the way he talks, and
getting one of his letters is almost as
good as a visit home."

This family feeling came close to
changing Johnny's career. At the Uni-
versity of Florida, he took his bach-
elor's degree in journalism, majoring in
radio and television. He paid his ex-
penses by working first on the Toby
Dowdy Show, on WFGA-TV, and later
had a show of his own. "But if I had
discovered it sooner, I think I would
have majored in sociology."

A course titled "Marriage and the
Family" first tempted him into the field.
"Many kids signed up for it, with the
idea it would be a pipe. It wasn't. It
involved much serious research, which
I enjoyed. But the best thing about it
was learning to know Dr. Shaw Grigs-
by, our professor of sociology. For me,
as well as for many other students, he
became a personal adviser. He has in-
fluenced the way I think about lots of
things. Because of him, I better know
who I am and what I want out of life."

One of the things Johnny wants is a
home of his own. His present dwelling
is a new apartment in mid-Manhattan.
"So far, all I have is a bed, a TV set,
a hi-fi and a borrowed sofa and a bor-
rowed dog, but eventually, I'll get
around to furnishing it."

Eventually, too, there will be a wife
to share his home. "I must be more
firmly established in my career before
I marry, but in the meantime, I certain-
ly am looking for the right girl. I sup-
pose it is because I have so little time
for dates that I enjoy them so much.
When I do get a chance to take a girl
out, I always try to make our dates a
little special."

He describes one date: "I knew this
girl liked the theater, so I found out
which play she wanted to see. Passing
a flower shop, I saw a kookie little
gadget — a pair of tiny rabbits playing
hide-and-seek around a small barrel.
It didn't cost much, but I hoped she
would like it and it would let her know
I was thinking about her."

When the right time and the right
girl do occur in Johnny's life, he has
his plans. "I would like nothing better
than to be married. But when I marry,
I'm going to be a bit old-fashioned
about it. I don't like this modern atti-
tude of marrying with reservations —
that if things go wrong, there's always
some side door out. Whatever happens,
I believe problems can be met and the
girl I marry will have to hold the same
belief. A good marriage is the most
wonderful thing in life, and when I
marry, it is going to be for keeps."

WHAT DO
YOU THINK...

of your husband?

WHATS BEEN
YOUR MOST. . .

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Here's a chance to put your feel-
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TRUE EXPERIENCE will pay
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MORE.
READERS'

REPLIES: ftaiHi&ef my Mow!
Most Embarrassing Experience < Most interesting Person

Get your letter in the mail right
away — but, before you do, read
the August issue of . . .

TRUE
EXPERIENCE

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SEPTEMBER, 1961

MIDWEST EDITION

VOL. 56, NO. 4

Ann Mosher, Editor

Teresa Buxton, Managing Editor

Lorraine Girsch, Associate Editor

Jack Zasorin, Art Director

Frances Maly, Associate Art Director

Eunice Field, West Coast Representative

STORIES OF THE STARS

12 The High Price of Fame (Dick Clark and Jimmie Rodgers)

by Helen Bolstad

14 A Blue-Sky Look at the TV Sets of 1970 by Martin Cohen

18 Bob Barker and the Eleven Barking Bassets by Bill Kelsay

20 Special Preview of TV Shows for Fall by Betty Etter

24 Jimmy Durante: The New Groom Takes on a New Sidekick

by Kathleen Post

26 Young Doctor Malone by Frances Kish

28 An Ex-Tarzan Rides with Wagon Train (Scott Miller) by Fredda Balling

32 Queen of the Studio Fans (Jack Paar's Miss Miller) by Joe Ranson

36 Scooter Calls the Plays (Phil Rizzuto) by Jim Morse

38 Bob Denver Rolls with His Beard (a short, short bowling story)

40 The Man Who Looks Like Everyone (Frank Gorshin) by Peter J. Levinson

42 The Big, Big Corcoran Clan (Hollywood's actingest family)

46 Monitor's Sunday March (Hal March) By Dena Reed

48 Here's Helen O'Connell by Maurine Remenih

50 The Race for Stardom by Gregory Merwin

SPECIAL MIDWEST STORIES

53 Mostly Music (Bob Kay of WAVE-TV and Radio)

54 Multi- Voiced Humorist (Dave Lee of WTCN-TV)
56 News Is His Business (Walt Kavanagh of KFAB)
58 Press Internationale (WBKB-TV)

FUN AND SERVICE FEATURES

3 What's New on the East Coast by Peter Abbott

6 What's New on the West Coast by Eunice Field

9 Information Booth

30 Beauty: New Shape-Up (Debbie Drake) by June Clark

60 New Patterns for You (smart wardrobe suggestions)

62 New Designs for Living (needlecraft and transfer patterns)

Cover portrait of Jimmy Durante by Ozzie Sweet

Published Monthly by Macfadden Publications, Inc.
Executive, Advertising, and Editorial Offices at 205 E.
42nd St., New York, N. Y. Editorial Branch Office, 321
S. Beverly Dr., Beverly Hills, Calif. Irving S. Manheimer,
Chairman of the Board; Gerald A. Bartell, President;
Frederick A. Klein, Executive Vice-President — General
Manager; Robert L. Young, Vice-President; S. N. Himmel-
man, Vice-President; Lee Bartell, Secretary. Advertising
offices also in Chicago and San Francisco.

3, 1879. Second-class postage paid at New York, N. Y.,
and other post offices. Authorized as Second Class matter
by the Post Office Department, Ottawa, Ontario, Canada.
© 1961 by Macfadden Publications, Inc. All rights
reserved. Copyright under the Universal Copyright Con-
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Buy your October issue early • On sale September 5

WHAT'S

NEW

THE

COAST

Musical interlude for Victor Borge, courtesy of Hermione Singold.

Lawrences — Steve, Eydie, David — Europe-bound.

Phil Silvers' wife surprised him with twin girls.

by PETER ABBOTT

People in the News: Deborah Kerr
makes her TV dramatic debut via
ABC -TV this fall. . . . Barry Sullivan
riding the range with Nora Warner.
... Big night September 27 on CBS-
TV. First an hour with Victor Borge,
then another with Jack Benny. Borge's
guests will be concert pianist Leonid
Hambro — with Hermione Gingold on
cello. . . . Good possibility Dean Mar-
tin and Sinatra will participate in the
Judy Garland special headed for CBS.
. . . One of the country's favorite female
performers, (Continued on next page)

For What's New on the West Coast, See Page 6

WHAT'S NEW ON THE

EAST COAST

(Continued from -preceding page)

on TV, screen and theater, is truly
the loneliest woman in all of N.Y.C.
. . . Art Carney's first special for
NBC-TV, in the fall, will be a laugh-
getter tentatively titled "Fads and
Foibles." . . . Jo-Ann Campbell and
Conway Twitty making their first
movie together. Titled "The Young and
the Lovely," it has a Canadian locale.
. . . When the Kuklapolitans return to
the network in the fall, Fran Allison
will be just an occasional guest. . . .
The next electronic gimmick to amaze
you will be a portable radio the size
of a fountain pen. . . . One of the big
shows planned for NBC next season
is "The Ziegfeld Girls." Producer Bill
Nichols called on top modeling agencies
to produce the city's most statuesquely

episode titled "Fistful of Pride." . . .
NBC-TV bragging that all of its net-
work news programing is sold out for
the new season. Comes to $27 million
in billings. . . . After three years, Edd
Byrnes gets promoted from parking-lot
attendant to private-eye. A young new-
comer, Robert Logan, gets Kookie's old
comb. . . . You'll see few outdoor girls
in TV commercials that sell women's
products. According to research men,
consumers seem to think the outdoor
type lacks femininity and responsi-
bility. . . . Americans now listening
to 350 million hours of radio each year.
. . . Robert Merrill had his two children
tutored in French. So this summer the
family goes to Italy. ... All the F.C.C.
talk about too much violence on TV

Aston-Martin sports car is the pride and joy of TV actor Lee Patterson.

beautiful girls. Ziegfeld's gals measured
36-24-38. Current beauties average
34-22-35, but that wasn't the headache.
Very few of the current crop of gals
could walk gracefully to music.

Instant News: Summer found Lu-
cille Ball too fatigued to tape the much
publicized TV special, "Lucy Goes to
Broadway." All plans for the show
have been scrapped. Besides fatigue,
Lucy has been suffering from bursitis.
. . . Shirley Jones prepping a TV version
of a Nathaniel Hawthorne short story
for ABC in October. . . . NBC-Radio
calls it "Instant News," a new program
in special-events coverage. . . . Connie
„ Francis tours South America this
month. . . . Eddie Albert wings to Hol-
lywood to guest-star in a Wells Fargo

will have little effect on this season's
programing. In one case, however,
ABC-TV's prexy kicked back one fall
episode of a crime show to Hollywood
for toning down. . . . Jack Paar has
a suggestion for enforcement of laws
against jaywalking. He suggests that
an offender who has six tickets should
have his shoes revoked.

The Untouchables: Three of Eliot
Ness's henchmen burst into N.Y.C. and
took issue with Italian-American groups
who claim the show tends to give the
effect that most gangster types are
Italian. Said Paul Picerni, who plays
Lee Hobson, "I'm an Italian and I'm
called upon frequently to do Italian
benefits. I find they love the show."
With Paul were two buddies — Nick

Pretty Academy Award winner Shirley
Jones plans music special on ABC-TV.

Georgiade, who plays Enrico Rossi, and
Abel Fernandez, who plays William
Youngfellow. Paul explains that Nick,
of Greek extraction, plays an Italian
because "all Greeks are frustrated
Italians." Fernandez — of Spanish, Por-
tuguese and Italian extraction — plays a
Cherokee. He says, "It seems I look
more like an Indian than an Indian."
Paul says the only question fans ever
bug him with is: "How come the crim-
inals always get killed and you cops
never get a scratch?" Paul says it's not
as phony as it seems. "Actually, since
1924, only 18 F.B.I, men have been
killed in gun battle, while they have
shot 1800 hoodlums. The truth is that
F.B.I, men are far better shots than
criminals." Then he grins and says
jokingly, "On the show, it's different.
Stack and the rest of us use real bul-
lets and we give the blanks to the
actors who play criminals."

Quickies: Al Hirt going for an even
% dozen children. . . . Kingston Trio's
Bob Shane had a baby daughter. . . .
Charles Van Doren planning to move
to Europe? . . . Dick Powell's new
NBC-TV series premieres September
26 with the biggest whodunit cast ever,
including Mickey Rooney, Dean Jones,
Kay Thompson and such other murder
suspects as Nick Adams, Carolyn
Jones, Lloyd Bridges, Ralph Bellamy
and Edgar Bergen. June Allyson, the
former Mrs. Powell, was supposed to
appear in the show but indulged the
female prerogative. . . . Ricky Nelson
goes over to CBS (one time) to star

in a General Electric Theater drama,
"The Wish Book," scheduled for Oc-
tober. Father Ozzie will direct. . . .
Dorothy Collins confident that she is
close to getting her own TV series.
. . . Bob Fuller found a mess of fans
in Japan. Gave two benefit shows with
40,000 at each performance, and turned
the proceeds over to a Tokyo charity.
. . . There's been no vacation for Bob
Newhart. Spent early part of summer
at work in Par amount's "Hell Is for
Heroes" and is now laboring on his
TV series. . . . No network sale yet
for ex-President Truman series. With
David Susskind's office, H.S.T. is pro-
ducing 26 one-hour installments illus-
trating the historic events and decisions
during the years he occupied the White
House. . . . Sam Levenson says, "To-
day's kids become teenagers when they
are nine years old."

Off the Hip: The scriptwriter has
it in his head that he's going to marry
off the younger Dr. Malone (John Con-
nell) to Gig Houseman (Diana Hy-
land). . . . Concentration's nighttime
version goes off in the fall. . . . Jenni-
fer Jones will play the role of Eva Pe-
ron, wife of the ex-Argentine dictator
Juan Peron, in a dramatic special due
late in the season over ABC -TV. . . . An
hour-long tribute to songsmith Harold
Arlen comes up September 24, star-
ring Peggy Lee, Vic Damone, LaVern

Barney Balaban, Harry Truman and David Susskind discuss plans for TV show.

Daughter of a Ziegfeld girl, cute
Tracy Butler will portray one on TV.

Baker and Nelson Riddle. . . . Lee Pat-
terson of SurfSide 6, who drives an
Aston-Martin sports car which goes
up to 140 miles an hour, has been

"grounded" by Warner Bros

Ichabod And Me, new fall series star-
ring Robert Sterling, will feature six-
year-old Jimmy Mathers, brother of
Jerry Mathers, who plays title role in
Leave It To Beaver. . . . TV's Mighty
Mouse becomes U.N.I.C.E.F. ambassa-
dor this year. . . Godfrey says, "Par-
ents spend a child's early years teach-
ing him to walk and talk and the rest
of his life telling him to sit down and
shut up."

White Christmas: Bing Crosby's
first show for new TV season tentatively
set for December 11. ... A new pro-
ducer team includes Blake Edwards,
who created Peter Gunn, and Freddie
Fields, Polly Bergen's husband. They
will develop TV properties for Polly,
Judy Garland, Henry Fonda, Phil Sil-
vers and others. . . . Another star's
husband, Shirley MacLaine's Steve
Parker, is putting together another
special for NBC with a Far East cast.
This time, however, he promises it will
be authentic Oriental art instead of
Japanese rock 'n' roll singers. . . .
Outlaws' John Collier bought a small
ranch and, with his wife and five chil-
dren, has been spending the summer
building on additional rooms. . . . Will
(Sugarfoot) Hutchins will be missing
when Cheyenne returns. . . . Guy
Stockwell, Dean's brother, signed to be
Gardner McKay's first mate in Para-
dise series. Ex-first mate, James Hol-
den, becomes a landlubber in the same
show.

Home Stretch: Quiz-show winnings
beginning to climb again. Tifie Price Is

Right up to $63,000 in prizes for one
winner. . . . Steve Allen's plans for his
new weekly ABC -TV variety show in-
clude his wife, his mother, Les Brown's
orchestra, Bill Dana and Louis Nye.
. . . Leslie Uggams, only eighteen,
building fast. Besides Mitch's Sing
Along series, she has two offers from
Broadway producers and can take her
choice. . . . Garry Moore heads up to
Maine on a vacation. First, he signed
up Robert Goulet for four shows this
coming season. . . . The Clark Band-
stand will suffer shrinkage this fall.
. . . And CBS will cut special programs
from forty-two (last season) to sixteen
(this season). Still maintains that one-
shots, no matter how successful, hurt
the regular ratings of the weeklies.
. . . High culture for CBS next season.
George Balanchine and Igor Stravinsky
preparing a one-hour ballet, "Noah
and the Flood." . . . Gen. Sarnoff
proposes a global TV summit confer-
ence so the world can see its leaders
face to face — noting that there are now
200 million receivers on the planet.
. . . Bill Cullen's vacation really begins
in September. In addition to network
TV, he's been working as an early -
morning radio deejay for the past six
years but now feels secure enough to
drop the job. . . . Stars worry about
sponsor conflict, but character conflict
seems the least of their worries. Reruns
of Robert Young's Father Knows Best
will continue to be seen Wednesday
evenings over the CBS-TV network.
As "Father," he continues to be a con-
servative businessman, husband, and
father of three children. But, on Mon-
day p.m., same network, he is cast as
a widower and a footloose novelist, in
Window On Main Street. Next season,
Tahiti????

by EUNICE FIELD

Man's Best Friends: There's a riddle
going around Hollywood. When is a
dog not a dog? Answer: When he's
Gardner McKay's "Pussycat." The
white shaggy dog is driving his ever-
lovin' master out of his ever-lovin'
mind. Recently, Barbara Eden and
hubby Mike Ansara drove out to visit
the Mission at Capistrano, famed for its
homecoming swallows. "Why," ex-
claimed Babs, "that has to be Pussy-
cat! Gard must be here . . ." Mike saw
a floppy sand-splotched dog yawning
before the entrance to the Mission.
"How do you know he's Gard's dog?"
he asked. Babs gave a pert sniff, "Be-
cause he didn't move an eyelash when
that big fat cat strutted by him. It's
driving Gard wild. Pussycat takes his
name seriously and refuses to act like
a dog." . . . Vying with McKay for the
"honor" of owning the most mixed-up
animal is Gunsmoke's Dennis Weaver.
His pet peeve is "Dandy Mike," a
thoroughbred horse. If Pussycat doesn't
like being a dog, Dandy Mike plainly
hates being a race horse. On his track
debut, he chewed up the bit, stiffened
his legs and refused to leave the start-
ing gate. On his next outing, however,
Dandy Mike suddenly decided to prove
he could run. He led the pack until the
half-way turn, then — realizing he was
all alone — skidded to a stop, made a
U-turn and waited for the rest to catch
up. It was one of those times when
Chester couldn't get help from Mistuh
Dillon. He went instead to Fred Mc-
Dougall, a horse trainer who specializes
in animal psychology and straightening
out delinquent and neurotic four-foot-
ers. His efforts to cure Dandy Mike
would fill a book. But finally, after
months of treatment, McDougall an-
nounced to Dennis that he'd managed
to talk some horse sense into the beast.
Dennis promptly entered him in an-
other race. This time, Dandy Mike left
the gate — but in company with four
late-starters. He ambled along with
this group until the finish. Wailed Den-
nis to the jockey, "Wha' hoppen?" The
rider gave him an acid stare. "He was
so busy telling the other nags about his
'analysis' that he plumb forgot to run."
People and Plans: Richard Boone
was so impressed with Duane Eddy's
acting in "The Thunder of Drums,"
their co-starring MGM feature, that
he's signed the young guitar player for
two Have Gun — Will Travel segments.
. . . Nancy Sinatra Sr. finally sold the
home she and Frank bought when they
first came to Hollywood. "Too big," she
explains, "for just Tina and me." Frank
Jr. heads for college in the fall and, of
course, Nancy Jr. and husband Tommy

Sands have their own apartment. Pret-
ty Mrs. Sands will cut a Christmas al-
bum with sister Tina and their dad for
Frank's new Reprise label. . . . Mitch
Miller's book, "Sing Along with Mitch,"
will be published by Bernard Geis in
the fall. The volume will include forty-
eight of the most popular American
songs of the past 75 years. . . . Pretty
Kitty Wellman, a dancer before she
wed Jim Franciscus, was all set for her
big break. Choreographer Jack Bunche
asked her to be solo dancer on three
upcoming TV specials he'll direct. A
week before rehearsals began, Kitty's
doctor told her stardom would have to
wait — she's expecting in December. . . .
Bill Lundigan says he's hit a new "low"
in his career, then quickly explains
with a chuckle: "For the past two

Record fans — Tommy and Nancy Sands.

years, I was way up with my TV series,
Men In Space — but in my Columbia
film, 'The Underwater City,' I go way
down beneath the sea."

Where's Ray? Who's Don? Busy
twirling his mustache as the heavy in
Walt Disney's "Babes inToyland," light-
footed Ray Bolger has set his mind
against doing another TV series. "I'm
happy," he said, "that Where's Ray-
mond? is still going great guns in Aus-
tralia and Canada, because I own a nice
hunk of the show. But I'm for guest
shots only, from now on." He's eager
to try another Broadway musical and,
as soon as "Babes" was done, he flew to
London for a look-see at "Oliver," a
musical based on the Dickens novel
"Oliver Twist." The role he was sizing
up is Fagin, another heavy. Ray still

gets fan letters begging him to revive
"Where's Charley?" Since his wife,
Gwen, "to whom I owe it all," was co-
producer of the hit, Ray sometimes
took a turn selling tickets in the box
office, "just for the heck of it." Oddly
enough, very few people ever recog-
nized the star of the show behind the
ticket-wicket. One day, a customer
stood there staring intently at Ray. At
last he said, 'Say, you know who you
look like?" Ray waited breathlessly to
hear his name. But the man went on,
"You look just like Don." Taken aback,
Ray demanded, "Who's Don?" The
customer shot back, "Oh, Don's a guy
back home in Milwaukee who flew the
coop when his missus found out he
had two more wives."

Upward and Onward with TV:
George Nader, who is starring hand-
somely in Shannon, a new private-eye
series, reported to Screen Gems to film
the first of thirty-seven episodes. He
was given a briefing on the series.
"You're to play an insurance investi-
gator for a cargo bonding company," it
was explained, "but don't get the idea
we're going in for the usual prepos-
terous Dick Tracy stuff. We are going
to be realistic and adult — none of those
hokey props like a Girl Friday or a
kookie sidekick. Everyone who sees
you in Shannon will say, T believe it
. . . he's just a regular guy.' " So
George went on set to tackle his new
no -hokum adult adventures in crime —
and the first thing that met his eye
(private, of course) was the car he
drives in the series. It is equipped with
a built-in phone, tape recorder and
two cameras that swing out from the
dashboard to take movies of the villians
in action! "Well," grinned George,
"doesn't every regular guy have one?"

A Question of Color: Sheb Wooley
has a penchant for purple. After pen-
ning the money-making "Purple People
Eater," he came up with another hit,
"Skin Tight, Pin- Striped, Purple Pedal
Pushers." Sheb says he wrote both songs
while on the Rawhide set. "I love the
color," chortles the actor-composer.
"Purple's the color that took me out of
the red and put me in the black." . . .
Along these lines, jazz pianist Errol
Garner claims he sees colors ranging
from cool-blue to red-hot while play-
ing. His love of color has led him to
painting and collecting paintings. He
has close to seventy originals, acquired
during his tours of Europe and the
United States. "On my own canvases,
I use many colors and mix my own
shades. I seem to go for russet and
violet tones a lot. Can you picture
what a drab (Continued on next page) t

For What's New On The East Coast, See Page 3

dreary world this would be if all its
colors suddenly faded away?"

Party Playtime: Latest Hollywood
parlor game is "Marriage Coupling."
You pair two people with similar names
and come up with weird rhymes or
combinations. For instance: If Rhonda
Fleming married Henry Fonda, she'd
be Rhonda Fonda. A few more samples:
Merle Oberon and Milton Berle — Merle
Berle. Jean Simmons and Orson Bean
— Jean Bean. Pat Suzuki and Learned
Hand — Pat Hand. Conway Twitty and
Kitty Carlisle— Kitty Twitty. Lori Nel-
son and Peter Lorre — Lori Lorre. Bar-
rie Chase and Gene Barry — Barrie
Barry. No one seems to know who
started it all, but it's pushed charades

(Continued from preceding page)

with her when she flew to Italy to re-
cord "La Boheme" for RCA at the
Rome Opera House. No TV plans in
the offing for her, though. "I'm busy
enough as it is," she sighs. "I still
haven't completed decorating our
home, and I began the job three years
ago." . . . Barton MacLane will be
upped to Governor of Oklahoma in the
second season of Outlaws, with Bruce
Yarnell, handsome young singer- actor
moving into the role of Marshal Will
Foreman. Former stuntman Slim Pick-
ens is another addition. MacLane
wanted out of the series, but agreed to
stay on as "guest star" in a third of the
segments. . . . Dean Miller, of Here's
Hollywood, surprised even his closest

casional dates with others. Tuesday is
taking lessons in singing, dancing and
(hold on to your hats, folks!) philoso-
phy. She has also turned composer and
is working on a piano sonata. Dick, on
the other hand, is studying French —
with the help, 'tis said, of a non-pro-
fessional miss from the land of the
Eiffel Tower — and, in spare time, writ-
ing a play. This project, "A Present for
Eunice" (his mother's name), is espe-
cially tough, since he can't type and
must put it all down in longhand. At
20th-Fox, where the pair made "Bach-
elor Flat," the top brass declared them-
selves delighted with "this burst of
studiousness." The general view was
summed up by an executive who ex-

Movie "Babes in Toyland" stars Annette, Ray Bolger. Studying script for his new TV series — George Nader.

right out of the picture. Chad Everett
and steady-date Yvonne Lime won
first prize at the Roger Smiths' one
night, when they paired Ish Kabibble
and Sybil Thorndike and came up with
Sybil Kabibble. "It may be silly,"
Chad points out, "but it's a lot safer
than Russian Roulette." "Or Post
Office," adds Yvonne.

Playing the Field: Mary Costa will
add three roles to her repertoire when
the San Francisco Opera Company
opens its 1961 fall season, and husband
Frank Tashlin is, as usual, beaming
with pride. He accompanied her to
Vancouver, B.C., when she sang Titania
in the Western Hemisphere premiere
of the operatic version of "A Midsum-
mer Night's Dream," but couldn't be

friends when he married non-pro Ida
Wagner in Sidney, Ohio. He combined
his three-week honeymoon with busi-
ness, intervewing William Holden in
Stockholm, Tony Quinn in Rome and
Gene Kelly in Paris, for his show. . . .
Jimmy Mathers, brother of Leave It
to Beaver star Jerry Mathers, TV-
debuts this fall as Robert Sterling's
son in the new comedy series Ichabod
And Me. George Chandler, former
"Uncle Petrie" of the Lassie show, will
be Ichabod.

The High Cost of Loving: Tuesday
Weld and Richard Beymer, reported
"in love" last year during filming of
"High Time," now say their romance
is strictly for the cameras. But they
are much too busy for more than oc-

plained, "This is great. They're saving
all their kissing for the studio, where
they get paid well for it, instead of
wasting it on each other for nothing."
Here's Hopin': Jan King, secretary
to Bob Hope for nine years, says Bob
is a great boss and easy to work for —
with one exception. His passport! Bob,
who often flies to distant places on
short notice, always seems to forget
where he put his passport and Jan
spends exasperated hours trying to lo-
cate it in time for him to make his
plane. At last she figured out a scheme
to keep the document on tap. She had
a cartoon drawn up and hung above
Bob's desk. It shows the passport with
the head of Bing Crosby asking, "Going
my way?"

Real-Life Fiction

Dear Editors:

I have been reading your magazine
for a long time because I like to keep
up with the TV personalities. I enjoy
the daytime dramas very much, especially
The Edge Of Night. / thought your read-
ers might be interested to know that, here
in Mississippi, we have a real town called
Monticello and, up in the northern part
of the state, there's a real lawyer named
Mike Karr. I hear his name on the local
neivs quite often.

Vernice Shoemaker
Stringer, Mississippi

Some Quickies

Could you please tell me if Tony Young
is married?

P.P., Two Harbors, Minn.
Tony is a bachelor.

Please tell me when and where Doug
McClure was born.

J. JT., Spencerport, N.Y.

He was born on May 11, 1935, in Santa
Monica, California.

Is Don Collier related to Bud Colly er?
CM., Belton, Texas
They are not related.

How old is Anthony George?

ES., Fremont, Nebraska
He is 36 years old.

Calling All Fans

The following fan clubs invite new
members. If you are interested, write to
address given — not to TV Radio Mirror.

Bobby Vee Fan Club, Sharon Olden-
ski, 4305 South Karlov, Chicago 32, 111.

Jo Stafford and Paul Weston Fan Club,
Mary Carol Johnson, 429 Rose Street,
Jackson 3, Mississippi.

Gene Pitney Fan Club, Judy Tomeo,
29 Cedar Ridge Road, Newington 11,
Connecticut.

Robert hers Fan Club, Randy Ran-
dies, Box 2068, Hollywood 28, Calif.

Nancy Malone Fan Club, Judy Quin-
tilian, 2334 Washington Ave., Bronx 58,
N. Y.

Richard Boone Fan Club, Joyce King,
145-09 Neponsit Avenue, Rockaway
Beach. New York.

A Canadian Britisher

I'm ivriting this letter as a request for
some information about Lloyd Bochner
of Hong Kong.

J.D., New York, Neiv York

Although he plays the part of a Brit-
isher in ABC-TV's Hong Kong, Lloyd
Bochner is a native of Toronto, Canada.
And he happened to become an actor be-
cause he hated to play the piano. It seems
Lloyd's parents wanted him to become
a pianist. But, when he objected, they
suggested he take acting lessons as a
substitute. Willing to face anything rath-
er than return to pianc practice, Lloyd
agreed. He was enrolled with the Jo-
sephine Barrington Juveniles at the age
of ten. But it wasn't until he had at-
tended the University of Toronto and
served in the Royal Canadian Navy for
three years, that he decided to concen-
trate on acting. He subsequently appeared
with the Canadian Stratford Shakespeare
Festival company and on Canadian radio
and TV. . . . Oddly enough, Bochner
married a concert pianist, Ruth Roher.
They have three children — Paul, 10; Jo-
hanna, 7; and Hart, 4^. . . . Lloyd's
favorite hobbies are painting, fishing
and photography.

A Look at Leslie

Please tell me something about the
actress Leslie Parrish.

B.L., Grand Rapids, Michigan

Pretty Leslie Parrish is just the oppo-
site of Lloyd Bochner . . . she started
out to be a concert pianist! The blonde,
blue-eyed actress — who was raised in
Upper Black Eddy, Pennsylvania— was
only sixteen years old when she began
giving piano lessons in order to continue
her higher musical education. When she
realized that she wasn't making enough
money to pay for this type of instruction,
Leslie switched to modeling, and later
became NBC's Color Television Girl.
From then on, it was a slow climb into
small movie parts. ... In 1955, the at-
tractive starlet decided she had had
enough of the acting business. So she
married actor-singer Ric Marlow and
settled down to being a housewife. Her
retirement lasted a year. She resumed her
career and got the plum part of Daisy
Mae in the movie "Li'l Abner." . . . Since
her success in that film, Leslie has ap-
peared on numerous TV shows, including
Perry Mason, 77 Sunset Strip and Bat
Masterson. . . . Although Leslie's es-
pecial enthusiasm is still music, she also
likes to read, swim and play chess. She
loves hats . . . conservative ones.

Leslie Parrish

Information

Lloyd Bochner

j/^im

HAM

uUmal

' the eternal woman, with a hundred faces to beguile and fascinate.
Which face do you wear this hour, Eve? Remember, your eyes hold the secret
of your mood! Look into your mirror . . . are those the deepening, gleaming
eyes of your Siren face? Will a raised brow announce the haughty Queen?
Or will those silky lashes turn shyly down, inviting tenderness? Your
eyes speak for you, Eve ... so make the most of their subtle
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I the eternal woman, with a hundred faces to beguile and fascinate.
Which face do you wear this hour, Eve? Remember, your eyes hold the secret
of your moodl Look into your mirror . . . are those the deepening, gleaming
eyes of your Siren face? Will a raised brow announce the haughty Queen?
Or will those silky lashes turn shyly down, inviting tenderness? Your
eyes speak for you, Eve ... so make the most of their subtle
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Within a single week last spring, neivs was made by the impending divorces of
Jimmie Rodgers and of Dick Clark. Behind the newsprint lies the heartbreaking story of

THE
HIGH
PRICE

Dick Clark and his wife Barbara were high-school and
college sweethearts before they were married in 1952.

HELEN

BOLSTAD

Colleen's voice sounded mournful as a pale gray ghost when, from Hollywood,
she acknowledged that she intended to divorce singer Jimmie Rodgers. "It's
true. I've filed suit. It seemed the only thing to do."

From Philadelphia came similar unhappy news. Through a spokesman at
WFIL, where the ABC -TV show American Bandstand originates, its master of
ceremonies Dick Clark and his wife Barbara made a stiffly formal announcement:
"It is with deep regret that we confirm the report of our impending divorce."

And from saddened friends and fans of both couples came the same question:
"Why? What happened?" Of all show-business marriages, these had seemed
the ones most likely to endure.

The Clarks, who married on June 28, 1952, appeared (Continued on page 78)

Jimmie Rodgers and his wife
Colleen in loving pose, in
days when no threat to their
happiness seemed conceivable.

Imagination is the key word.
They re narrower, they're smaller.
They re global! Let's take a gander

by MARTIN COHEN

It was A private preview for the press. When
the curtain at the Johnny Victor Theater
lifted, there was an instant murmur. The women
couldn't have been more fascinated if it had
been the first showing of mink from the planet
Venus. Men stared as though the exhibit of
shapes-to-come included the future Bardot. On
the stage were mock-up models of television
and radio for the 1970s, incorporating the elec-
tronic miracles to be expected of our age.

"This is a new approach," said Tucker P.
Madawick, head of the RCA Advance Design
Center. "In the past, engineers have dictated
the kind of sets you would have. They have
told designers, 'Here's the equipment. Now you

Above: Two-level console will combine
color TV at top, stereo radio and video-
audio tape recorder-player below. Set
also will project hear-see TV tapes.
Right: Large-screen color TV console,
less than 5 inches deep. When not in use,
screen is covered by sliding tambour
door. Both sets visualize designs of future.

Facing page: The color television and radio broad-
casts of the world, bounced from satellites, will
be within reach of this global set of the future.
Illustrated map of the world features special pin-
point lights to indicate where show is coming from.
Large TV screen is on reverse of 3-inch wide flip-
over console. Tuning dials indicate time of day in
all parts of the globe. At left: Smallest set of
the future, a pocket-size color TV set, battery
operated, which will combine with stereo radio.
Designers hope to be able to market "miniature"
at sufficiently low cost to make it a mass hit.

A BLUE-SKY LOOK AT THE

If SETS

if 111!

(Continued)

build a box or piece of furniture around
it.' But now designers are looking ahead.
Anticipating electronic advances. An-
ticipating the public's need in the future.
Designers are now saying to engineers,
'This is the kind of receiver the public
will want in the 1970s. Let's see you
come up with equipment to fit the
design.' "

And so . . . this is what the future
holds for you:

Color television, not only in home
receivers, but in hand-size sets you can
carry in purse or pocket to a ball game
or the dentist's office.

Picture screen so slim that the larg-
est home set will be no more than five
inches thick— and, ultimately, less than
two inches.

Portability, for sets will be light and
easily moved from room to room.

Versatility in function. Not only will
your color TV receiver bring in broad-
cast programs, but it will serve as a
baby-sitter in a (Continued on page 79)

For the busy traveling executive.
A 24-hour secretary that will let
him dictate or give instructions to
his secretary from his home or hotel,
at his convenience. The taped in-
formation may then be sent to his
office by radio at a pre-set time.
Unit will use the RCA tape-cartridge
system. Matching unit in office will
receive material. Here, at last, is
a secretary who'll cheerfully work
seven days a week, with no vacation.

At right: Home communications sys-
tem combining color TV-radio unit
which receives images from many
miniature cameras, strategically
placed in and around the house.
Housewife will be able to monitor
nursery, children at play near pool
or in yard, callers at front or rear
doors of house. Set will also be able
to tune in a regular TV colorcust
or receive AM or FM radio broad-
casts. It'll do everything but cook!

"W**»*»-,_

m\\

Personalized color case on TV-radio combination unit which is planned for travel or for entertainment at
beach parties or any pleasurable gathering. The size of an average book when closed, the set will have
a clock timer for automatic tuning-in of either radio or color TV programs. Its hinged travel case and
light weight will make it conveniently portable. As with all other sets shown, this one points the
direction TV design will take in future but is not presently in manufacture and cannot be purchased.

the MM Barking Bassets

Bob and Dorothy Jo (above) find they also enjoy the house they bought for
a basset hound! At left — a few wriggling fractions of their canine collection.

At the Barker household,
it's dogs' day every day,
and the action is solid —
just as the fun is fast
on Truth Or Consequences!

by BILL KELSAY

It sounds like a gag from Truth Or
Consequences: "Mr. Baker" — head
dog in the home of that show's host —
started out to be a cat! That is, when
Dorothy Jo Barker went looking for
a welcome-home present for husband
Bob, she thought a cat would be nice
because she had had cats for pets, off
and on, for years. Bob was in Minne-
apolis on a (Continued on page 72)

Bob Barker emcees Truth Or Consequences.
as seen on NBC-TV, M-F, at 12 noon EDT.

•

Bob Barker and

the 11 Barking Bassets

Bob and Dorothy Jo (above) find they also enjoy the house they bought for
a basset hound! At left — a few wriggling fractions of their canine collection.

At the Barker household,
it's dogs' day every day,
and the action is solid —
just as the fun is fast
on Truth Or Consequences!

by BILL KELSAY

IT sounds like a gag from Truth Or
Consequences: "Mr. Baker" — head
dog in the home of that show's host —
started out to be a cat! That is, when
Dorothy Jo Barker went looking for
a welcome-home present for husband
Bob, she thought a cat would be nice
because she had had cats for pets, off
and on, for years. Bob was in Minne-
apolis on a (Continued on page 72)

Boh Barker emcees Truth Or Consequences.
as seen on NBC-TV. M-F, at 12 noon EDT.

gv5^

•*rr—

New comedy series Margie will film
at 20th Century-Fox for ABC-TV.
L. to R. below, the stars: Cynthia
Pepper, Richard Gering, Penney Parker.

vvvl

ft , V 1

■

for FALL

Some new, some old, some special.
In a few weeks, we'll all be ditching
the sun glasses for a clear-eyed
look at TV's fall programing.
But let's take a peek right now . . .

by BETTY ETTER

It won't be long now! With autumn just a
flip of the calendar away, and baseball —
which has kept many a home screen alight
in summer — heading for its grand finale,
the big new TV season is about to get under
way. Beginning in September and early
October, forty-odd new series will premiere
on the networks, interspersed with even more
old favorites — many of which are getting a
re-styling job to give them added zip.

There will be specials, too, of course, with
such top-flight stars as Sir Laurence Olivier,

A favorite returns after year's absence from
TV. Steve Allen will present, on ABC-TV, an hour
variety package, on which it is expected that
some of his old gang will be seen occasionally.

Luring laughs in situation comedy on CBS-TV will be Gertrude Berg,
beloved creator and star of The Goldbergs' long run. "Molly's" new
series co-stars Sir Cedric Hardwicke, with Mary Wickes and Skip Ward.
Below, in scene from The Hathaways, scene-stealers the Marquis Chimps
get into action with their human co-stars Peggy Cass and Jack Weston.

Continued

►

of TV Shows for FALL

Some new, some old, some special.
In a few weeks, we'll all be ditching
the sun glasses for a clear-eyed
look at TV's fall programing.
But let's take a peek right now . . .

by BETTY ETTER

There will be specials, too, of course, with
such top-flight stars as Sir Laurence Olivier,

Luring laughs in situation comedy on CBS-TV will be Gertrude Berg,
beloved creator and star of Tht Goldbergs' long run. "Molly's" new
series co-stars Sir Cedric Hardwicke, with Mary Wiclces and Skip Ward.
Below, in scene from The Hathaways, scene-stealers the Marquis Chimps
get into action with their human co-stars Puggy Cass and Jack Weston.

favorite returns after year's absence from

v- Steve Allen will present, on ABC-TV, an hour

j°netV package, on which it is expected that

0me °' his old gang will be seen occasionally.

Continued

Judy Garland and, if all goes well, Marilyn Mon-
roe. There'll be ballet, Leonard Bernstein, and
maybe Elvis ... a peek into the worlds of Bob
Hope, Casey Stengel and Helen Keller. . . . plus
new hour-long dramas and new versions of such
film classics as "Rebecca," done with big-name
stars and no skimping on the budget.

But unlike previous years, the specials will be
so scheduled as to interfere as little as possible
with weekly series. Network brass has learned
that audiences take a dim view of having their
favorite show canceled in favor of another pro-
gram, no matter how bright and shiny it may be.

In the week-to-week department, the season
ought to be fun. At any rate, more comedies have
been scheduled than have been around since the

Expanding his fabulous success as the monologist
with the button-down mind, Bob Newhart heads up
a satirical comedy series. Guest stars will appear

Activities of the Metropolitan Squad of Los Angeles Police De-
partment form background for new hour-long series The New
Breed. Shown above — left to right — are squad members Leslie
Nielsen, Greg Roman, Glen Kramer. Seated, front, John Clarke.

New animated cartoon series, Calvin And The Colonel, fea-
tures Calvin (a bear), The Colonel (a fox) and other animal
friends. Title characters will use well-known voices of Freeman
Gosden and Charles Correll, radio's famous Amos 'N' Andy.

Shows for FALL

(Continued)

palmiest days of I Love Lucy — thirteen new ones,
to be exact, plus sixteen that kept viewers
chuckling last season.

Good news to millions is the word that Steve
Allen, missing last season, will be back for an
hour each week with his own special brand of
comedy-variety show on which, in addition to
new talent, members of his old gang are bound
to pop up from time to time. Now living in Cali-
fornia, Steve will do most of his shows live from
there, but plans to originate several from New
York and others, occasionally, from college cam-
puses around the country.

Bob Cummings, another long-time favorite,
will be back again, too — as a high-living, free-
(Continued on page 70)

From the Hanna-Barbera studio — which introduced
the successful Flintstones — comes Top Cat, a brash
big-city mouser with voice by actor Arnold Stang.
Above, with Officer Dibble (voiced by Allen Jenkins).

In scene from NBC-TV's Dr. Kildare: Richard Cham-
berlain, in the title role of the series, and veteran
Raymond Massey, who plays Dr. Gillespie. Show is
based on famous Metro-Goldwyn-Mayer movie series.

Based on the famous play by William Inge, which was later
made into a movie starring Marilyn Monroe, Bus Stop will
now move onto the TV screen as an hour-long weekly series.
Aboveare Marilyn Maxwell and Rhodes Reason, whoco-star.

New animated cartoon series, Calvin And The Colonel fea-
tures Calvin (a bear), The Colonel (a fox) and other animal
friends. Title characters will use well-known voices of Freeman
Gosden and Charles Correll, radio's famous Amos 'N' Andv

Judy Garland and, if all goes well, Marilyn Mon-
roe. There'll be ballet, Leonard Bernstein, and
maybe Elvis ... a peek into the worlds of Bob
Hope, Casey Stengel and Helen Keller. ... plus
new hour-long dramas and new versions of such
film classics as "Rebecca," done with big-name
stars and no skimping on the budget.

In the week-to-week department, the season
ought to be fun. At any rate, more comedies have
been scheduled than have been around since the

Expanding his fabulous success as the monologist
with the button-down mind, Bob Newhart heads up
a satirical comedy series. Guest stars will appear.

Shows for FALL

(Continued)

palmiest days of I Love Lucy — thirteen new ones,
to be exact, plus sixteen that kept viewers
chuckling last season.

Bob Cummings, another long-time favorite,
will be back again, too — as a high-living, free-
(Continued on page 70)

f y

For the "inka Dinka Do" expert,

the 1960s bring a happy marriage and a new cohort

in singer-comedian Sonny King. And, needless

to say, the inspired nonsense that makes Durante

unique goes on . . . and on . . . and on . . .

Durante:

THE NEW GROOM
TAKES ON A NEW SIDEKICK

by KATHLEEN POST

Asked about the "new Durante," the Great Schnozzola is likely
to wag his balding head and wheeze hoarsely, "I'm morti-
fied— how kin they be a new Durante when they never was
no old Durante?" Of course, this is not entirely true. The
world of James Francis Durante is not quite what it was,
years ago. Some of the familiar faces are gone and there are
a couple of new ones — most particularly, singer-comedian Sonny
King, who has been working with Jimmy regularly in his night-club
appearances. Some of the ragtime tunes have given way to modern brands
of jazz. Some of the old jokes have taken on a gussied-up look, as
befits the high-speed age we live in.

But, by and large, the world of Jimmy Durante is a wise, wacky,
kindly never-never land where the big nose is a badge of honor,
"Umbriago" is actually some thing or some place, and the motto of
the characters boils down to: "Let's not start a nargument . . ." This
motto is a hangover from the old days. It dates (Continued on page 75)

The Jimmy Durante Show, NBC-TV, Wednesday, August 9, from 10 to 11 P.M. EDT— guest-
starring both Bob Hope and Garry Moore — is sponsored by the U. S. Brewers Association.

New "team" for a TV special:
Ski-Nose Bob Hope and the Schnoz!

Echoes from a great show-biz
trio: Jimmy with Eddie Jackson.

You asked for it. And here it is. The behind-the-scenes story of on<

Carol Irwin, producer of this serial drama

YOUNG

DOCTOR
MALONE

mr favorite daytime dramas

FRANCES KISH

DR. JERRY MALONE

(William Prince)

TRACEY MALONE

(Augusta Dabney)

JILL MALONE

(Freda Holloway)

DR. DAVID MALONE

(John Connell)

GIG HOUSEMAN

(Diana Hyland)

DR. STEFAN KODA

(Michael Ingram)

FAYE BANNISTER KODA

(Chase Crosley)

LISHA STEELE KODA

(Susan Hallaran)

CLARE BANNISTER

(Lesley Woods)

DR. TED POWELL

(Peter Brandon)

CHRISTABEL FISHER

(Betty Sinclair)

DEIRDRE BANNISTER

(Elizabeth St. Clair)

LARRY RENFREW

(Richard Van Patten)

Wether or not they have ever been there themselves, most people are fascinated by hospitals and
by medical procedures. Above all, they're intrigued by the men and women who give a large
portion of their lives to the healing arts. However, NBC-TV's Young Doctor Malone is much more
than just a story about doctors and nurses and the place in which they work. These medical
people have families, friends and neighbors. So have their patients. There is a whole community of
men, women and children to draw upon, and no limit to the dramatic elements which can be used.
Carol Irwin, producer of the daytime serial drama, points up this fact when she says, "We believe
that the problems we present are universal. In a hospital, there is drama (Continued on page 59)

Young Doctor Malone is seen over NBC-TV, Monday through Friday, from 3 to 3:30 P.M. EDT, under multiple sponsorship.

You asked for it. And here it is. The behind-the-scenes story of one 0/l your favorite daytime dramas

Carol Irwin, producer of this serial drama.

YOUNG

DOCTOR
MALONE

FRANCES KISH

DR;,iE,RRr malone

(William Prince)

TRACEY MALONE

(Augusta Dabney)

JILL MALONE

(Freda Holloway)

OR. DAVID MALONE

(John Connell)

GIG HOUSEMAN

(Diana Hyland)

BR. STEFAN KODA

(Michael Ingram)

FAYE BANNISTER KODA

(Chase Crosley)

LISHA STEELE KODA

(Susan Hallaran)

CLARE BANNISTER

(Lesley Woods)

DR. TED POWELL

(Pefer Brandon)

CHRISTABEL FISHER

(Beffy Sinclair)

DEIRDRE BANNISTER

(Elisabeth Sf. Clair)

LARRY RENFREW

(Richard Van Patten)

1»*ether or not they have ever been there themselves, most people are fascinated by hospitals and
WW by medical procedures. Above all, they're intrigued by the men and women who give a large
portion of their lives to the healing arts. However, NBC-TV's Young Doctor Malone is much more
than just a story about doctors and nurses and the place in which they work. These medical
people have families, friends and neighbors. So have their patients. There is a whole community of
men, women and children to draw upon, and no limit to the dramatic elements which can be used.
Carol Irwin, producer of the daytime serial drama, points up this fact when she says, "We believe
that the problems we present are universal. In a hospital, there is drama (Continued on page 59)

}oung Doctor Malone is seen over NBC-TV, Monday through Friday, from 3 to 3:30 P.\f. EDT, under multiple sponsorship.

an Ex-Tarzan]

Athlete and actor, Scott Miller adds a new face

to NBC's durable Western. Watch the feminine viewership zoom!

Him "Tarzan" — and a fine, athletic

choice for MGM's latest movie version, with

TV star Joanna Barnes as a lovely Jane.

by FREDDA BALLING

Scott Miller — six-feet-four and 212 pounds,
blue-eyed and tousle-haired — made his TV debut
one evening last April in "The Duke Shannon Story"
on Wag'on Train. According to the script, Duke
Shannon was a ready-fisted buckaroo of impressive
anatomy and great charm, and his only emotional
tie was an aged grandpa, who expired at the end
of the story, thus making it possible for Duke
to stay on with the wagon train. As Shannon, Scott
managed the rough stuff with authentic resourcefulness
and vigor. But, after a week spent on horseback,
he developed a private theory about the historical
fracas at Little Big Horn. Custer's cavalry, he
decided, were too stiff to put up much of a battle!
It's not that Scott is particularly {Continued on page 74)

Basketball star at U.C.LA. (above,
playing Colorado), he got his love of sports

from Dad. At left: Kent and Scott
and their parents — Dr. and Mrs. Ben Miller.

Scott is Duke Shannon on Wagon Train, as seen on NBC-TV,
Wed., 7:30 to 8:30 P.M. EDT, sponsored by National Biscuit
Company, R.J. Reynolds Tobacco Company, and Revlon, Inc.

Rides with Wagon Train

*»

Debbie Drake demonstrates how exercise can
be a passport to good looks and good health

by
JUNE CLARK

I J.

■1

Swinging waistline: Bend and
touch toes with left hand;
straighten, and touch with right.

Debbie advises a stretching
session to limber up: Reach
high with right arm, twist
slightly, keeping left leg back.

To firm tummy and thighs: Kneel; bend other leg, point
toe, bring knee forward, up to tummy, then straight back.

Debbie Drake, pert, pretty and beautifully
proportioned young star of The Debbie
Drake Show — nationally syndicated TV exer-
cise program — believes that "anyone can do
anything, if they're intense enough, enthusi-
astic and willing to work hard." Soft-spoken
Debbie has enthusiasm as boundless as her
home state of Texas, a bubbly excitement
for the world and for people — especially
for helping people to look, and live, better. A
shy little child, sensitive about her thinness,
Debbie decided in her teens to do something
about her figure. She was so successful with
her exercising regime that thousands have
been inspired by the example set by this
vibrant and happy girl.

To shape hips, tighten tummy: Lie face down; alter-
nating legs, point toe and slowly raise leg, then lower.

'->,
k*

Bend left leg till knee touches floor, repeat
with right leg and knee. Keeps thighs shapely.

For svelte thighs and a glowing
complexion: Swing legs left and
then right, in a scissor-like motion.

For bosom: Grasp two tin cans;
elbows stiff, thrust arms back to
ribs, then bring forward to center.

This takes practice : Hook knees over chair and slowly lean backward ;
repeat bosom exercise as above, working arms slowly back and forth.

-'-'

\**t

Hips a little padded? Derriere
a bit saggy? Lunge on left
foot (above) and stretch right leg
back — touch knees and "walk"!

Tried-and-true test: Touch toes,
then floor — first with one hand and
then the other. Keep knees straight.

Arm build-up : Grasping
cans, thrust arms back,
then bend elbows toward
center 10 times. To re-
duce arms, do it 25 times.

-■ >-

■:»■

[ifffc

by JOE RANSON

Robin Hood had his fearless do-or-die followers.
Odin, the Norse god, was trailed by a bevy
of adoring Valkyries who made the erstwhile Brooklyn
Dodger fans look like Maypole dancers. Nor were
King Arthur's henchmen slouches, when it came
to rah-rahing his goings-on at Camelot. But these
fabled fans turn into mere ventriloquist dummies,
compared with the present-day army of free-ticket
holders who sport the buttons, badges and banners
of such TV luminaries as Jack Paar, Perry Como,
Frank Sinatra, Dick Clark, et al.

Broadcast fans gallop from program to program from
sunup to midnight. This shouldn't lead one to
believe they are infatuated with every host or
emcee. Perish the thought! These are largely
platonic affairs with habitual ticket-holders. Their
real embraces are primarily reserved for one
panjandrum, one huge, electronically conceived deity.

Continued

►

Jiss Lillian Dorothy Miller, the foremost disciple of Jack Paar

Presenting Miss Lillian Dorothy Miller, the foremost disciple of Jock Po

by JOE RANSON

Robin Hood had his fearless do-or-die followers.
Odin, the Norse god, was trailed by a bevy
of adoring Valkyries who made the erstwhile Brooklyn
Dodger fans look like Maypole dancers. Nor were
King Arthur1* henchmen slouches, when it came
to rah-rahing his goings-on at Camelot. But these
Cabled tans turn into mere ventriloquist dummies,
compared with the present-day army of free-ticket
holders who sport the buttons, badges and banners
,if such TV luminaries as Jack Paar, Perry Como,
Frank Sinatra, Dick Clark, et al.

Broadcast fans gallop from program to program from
sunup to midnight. This shouldn't lead one to

v are infatuated with every host or
emcee. Perish the thought! These are largely
platonic affairs with habitual ticket-holders. Their
real embraces are primarily reserved for one
panjandrum, one huge, electronically conceived deity.

< ontinmed v

OF THE STUDIO FANS

(Continued)

Nov. *58: Miss Miller
posing with favorite pin-up,
on grand tour of Holly-
wood. 'Way back in Nov. '49:
Helping Ralph Edwards
and George Jessel celebrate
a T. Or C. anniversary!

A fan infatuated with Paar, for example, wants
no truck with other performers, save in a
passive manner. And clinical research also re-
veals that not all performers are lucky enough
to be tapped for membership in the Torn-Off-
Button Fraternity.

Thoroughly marinated in the juices of adula-
tion is Jack Paar. His foremost disciple is
Lillian Dorothy Miller, a bachelor girl of sixty-
four who makes her home in a small and solitary
room of the Hotel Holland, on New York's West
Forty-Second Street, a ribbon-mike's throw
from Times Square. Miss Miller's rapproche-
ment with Jack Paar knows no latitudes and
longitudes. It is as high as the moon and as
balmy as June.

Miss Miller is indubitably entitled to wear the
crown of "Queen of the Studio Fans." Nor
would Sadie Hertz, who carried the title in the
early days of radio, dare to wrest it from her.
Miss Miller, the record will show, is today's
major maharanee of the megacycles. Studio
fans decided she was entitled to a sultana's
salaam when they learned that Paar, impressed
with her attendance record in New York, had
decided to take her along with his cast on a

three-week engagement in Hollywood. This was
indeed a celestial gift — a fair reward for con-
stant burning of incense to a hallowed figure —
and her stock zoomed astronomically after her
trip to the Coast as a member of Paar's
entourage.

Miss Miller, who was a Government clerk-
typist before retiring, didn't spring full-blown
to this regal circle. She didn't merely sally
forth, one spring day, and say to herself that she
would like to be Queen of Studio 6B. No, it
wasn't quite that simple. There were ructions,
frustrations and internecine feuds. But the
arduous apprenticeship leading to royalty has
been repaid seven-fold, she recently indicated
to a friend.

She reached Nirvana one night — after many
months of steady attendance at Paar's show —
when Jack paused in his routine and asked that
the television cameras be turned on the be-
spectacled Miss Miller. "Every night, you are
here in the studio. Why do you come so often?"
he asked softly. "Because I'm lonely and it
beats an empty room," Miss Miller said, with
the impact of a Hemingway or a Faulkner
knocking off a lyric (Continued on page 65)

Movies get the Miller treatment, too — and Miss M.

gets a Hollywood makeup — visiting "All Hands on Deck,"

with Buddy Hackett and Pat Boone, early this year.

She began with radio quizzes — then
on to TV! Here she is, at
Masquerade Party, with Jayne and
Audrey Meadows, Sam Levenson.

UEEH OF THE STUDIO FANS

(Continued)

Nov. '58: Miss Miller
posinq with favorito pin-up,
on grand tour of Holly-
wood. 'Way back in Nov. '49:
Helping Ralph Edwards
and George Jessel celebrate
a T. Or C. anniversary!

A fun infatuated with Paar, for example, wants
no truck with other performers, save in a
passive manner, And clinical research also re-
vcals that not all performers are lucky enough
to b* tapped for membership in the Torn-Off-
Button Fraternity.

Thoroughly marinated in the juices of adula-
tion tl Jack Paar. His foremost disciple is
I allien Dorothy Miller, a bachelor girl of sixty-
loin who makes her home in a small and solitary
room >'f the Hotel Holland, on New York's West
Forty-Second Street, a ribbon-mike's throw
from Time* Square. Miss Miller's rapproche-
nu-iil with Jack Paar knows no latitudes and
longitudes. It is as high as the moon and as
balmy as June

Miss Miller is Indubitably entitled to wear the
crown of "Queen of the Studio Fans." Nor
would Sadie licit/, who carried the title in the
early days of radio, dare to wrest it from her.
Miss Miller, the record will show, is today's
major in.ihaianee of the megacycles. Studio
fans decided she was entitled to a sultana's
salaam when they learned that Paar, impressed
With her attendance record m New York, had
decided to take her along with his cast on a

three-week engagement in Hollywood. This was
indeed a celestial gift— a fair reward for con-
stant burning of incense to a hallowed figure —
and her stock zoomed astronomically after her
trip to the Coast as a member of Paar's
entourage.

Movie, get the Miller treatment, too— and Ml
gets a Hollywood makeup— visiting "All Hands on Deck "
with Buddy Hackett and Pot Boone, early this year

She began with radio quizzes — then
on to TV! Here she is. at
Masquerade Party, with Jayne and
Audrey Meadows, Sam Levenson.

Ex-Yankee Phil Rizzuto has moved from the diamond tc

Scooter

Calls
the Plays

by JIM MORSE

Phil Rizzuto is a classic example of the
little guy who just wouldn't quit. When
he was a youngster breaking into profes-
sional baseball, minor league managers —
skeptical of his diminutive size, five-feet-
six — never dreamed that he would go on
to play sixteen years (three years in mili-
tary service) with the New York Yankees
and become one of the game's outstanding
stars. Later, when his playing days were
over and he joined the Yankee broadcasting
team of Mel Allen and Red Barber, many
who heard him were convinced he would
never make it as an announcer. Phil him-
self admits that he's grateful he wasn't
scored for errors during his initial broad-
casts!

But little Phil — or "Scooter," as he was af-
fectionately called by baseball fans through-
out the country — did make it.

Today, he is an accomplished radio and
television personality, taking turns with
Allen and Barber for the play-by-play of
the Yankee games and conducting his own
six-nights-weekly sports commentary on
the CBS Radio network.

"I was ready (Continued on page 68)

Phil might have become a baseball manager. But he's
happier at the mike with Red Barber (center) and Mel
Allen (right), covering Yankee games on radio and TV.

Title of "Radio Father of the Year" fits
like a mitt: Phil chose broadcasting to be
with his family, has own show on CBS Radio.

Phil airs It's Sfwrts Time on CBS Radio,
M.-Sat., 6:55 P.M. EDT, for The Mennen
Co. and R.J. Reynolds Tobacco Co. Yankee
games are heard on WCBS Radio and seen
on WPIX (in New York) — and on Yankee
Baseball Network (see newspapers) — (or
P. Ballantine & Sons and R.J. Reynolds.

' ■

press box. Here's a report on how he likes the switch

The six lively Rizzutos in a rare moment of suspended animation
at their home in Hillside, New Jersey; Phil and his fair-haired
wife, Cora; Patty, 17; Cindy, 14; Penny, II; and Phil Jr., 5.

It's "Little Scooter," of course. Phil
Jr. loves the game, says his dad — "yes,
sir, he's going to be a ball player!"

His girls get good golf tips from dad
— but trophies on his wall salute one of
baseball's "all-time great" shortstops.

JL—i—^Hi

• Ex-Yankee Phil Rizzuto has moved from the diamond to

Scooter

Calls

the Plays

Phil might have become a baseball manager. But he's
happier at the mike with Red Barber (center) and Mel
Allen (right), covering Yankee games on radio and TV.

the press box. Here's a report on hoio he likes the srvitch

by JIM MORSE

■%mx Rizzuto is a classic example of the
Puttie guy who just wouldn't quit. When
he was a youngster breaking into profes-
sional baseball, minor league managers-
skeptical of his diminutive size, five-feet-
six— never dreamed that he would go on
to play sixteen years (three years in mili-
tary service) with the New York Yankees
and become one of the game's outstanding
stars. Later, when his playing days were
over and he joined the Yankee broadcasting
team of Mel Allen and Red Barber, many
who heard him were convinced he would
never make it as an announcer. Phil him-
self admits that he's grateful he wasn't
scored for errors during his initial broad-
casts!

But little Phil — or "Scooter," as he was af-
fectionately called by baseball fans through-
out the country— did make it.

"I was ready (Continued on page 68)

Title of "Radio Father of the Year" fits
like a mitt: Phil chose broadcasting to be
with his family, has own show on CBS Radio.

Phil aiis /f'v Shorts Time on C1HS Radio,
M.Sai.. 6:5S P.M. EDT, for The Mrni.cn
Co. ami R.J. Reynolds Tobacco *:«>. Yankee
games are heard on WCBS Radio am! seen
on WP1X I in Now York) — and on Yankee
II Network (see aewspapers I foi
P. ttallanlim; & Sons and R.J. Reynolds.

''':- '.^*'VV«$i
It's "Little Scooter," of course. Phil
Jr. loves the game, says his dad— "yes,
sir, he's going to be a ball player!"'

His girls get good golf tips from dad
—but trophies on his wall salute one of
baseball's "all-time great" shortstops.

he six lively Rizzutos in a rare moment of suspended animation
°Mheir home in Hillside, New Jersey; Phil and his fair-haired

w'fe, Cora; Patty, 17; Gindy, 14; Penny, II; and Phil Jr., 5.

A bowling evening out for Denver

and friends yields

a full score of

fun, frenzy and falls I

Denver
Rolls

With
His

• A few weeks ago, Carolina Lanes, opposite Los Angeles International Airport,

was the scene for some hilarious action. The participants? Bob Denver (Maynard

The Beard, of Dobie Gillis fame) and his attractive wife Maggie, Sheila James (who plays

Zelda) and Stephen Franken (who plays Chatsworth Osborne Jr.). Also along for the

fun were two personal friends of the Denvers, Ronnie and Carol Littman. Carol

is an ex-actress and her husband is an insurance broker. The six eager tyros

were first invited to visit behind the scenes for a "pin's-eye-view" of the AMF Pinspotters

with the hope that this would improve their games. It didn't. Bob tried a couple of

shots in which he attempted to "roll with his beard," but found this didn't work and

discovered that he had a glass chin, too! The whole gang ended up bowling the conventional

way, with Sheila James chalking up the winning score. Everybody had a ball!

Dobie Gillis is seen on CBS-TV, Tues., 8:30 P.M. EDT, for Marlboro Cigarettes and Pillsbury Mills.

Happy group arriving at
Carolina Lanes (above, left
to right) Ronnie Littman,
Stephen Franken, Carol Litt-
man, Maggie and Bob Denver,
with Sheila James seated in car.
After a "pin's-eye-view" of
the alley, and a Denver con-
ference on scoring, the game
began, with the loving Littmans
as audience. Bob Denver was
given a trophy for rolling
the most channel balls!

••

6US
10

UIRE AT

, *?*

* - -5

A bowling evening out for Denver

and friends yields

a full score of

fun, frenzy and falls !

Bob
Denver
Rolls

With
His

Beard

i
i

■

■c

• A few weeks ago, Carolina Lanes, opposite Los Angeles International Airport,

was the scene for some hilarious action. The participants? Bob Denver (Maynard

The Beard, of Dobie Gillis fame) and his attractive wife Maggie, Sheila James (who plays

Zelda) and Stephen Franken (who plays Chatsworth Osborne Jr.). Also along for the

fun won- two personal friends of the Denvers, Ronnie and Carol Littman. Carol

is an ex-actress and her husband is an insurance broker. The six eager tyros

were first Invited to visit behind the scenes for a "pin's-eye-view" of the AMF Pinspotters

with the hope that this would improve their games. It didn't. Bob tried a couple of

shots in which he attempted to "roll with his beard," but found this didn't work and

discovered that he had a glass chin, too! The whole gang ended up bowling the conventional

way, with Sheila James chalking up the winning score. Everybody had a ball!

Uobit Cillis is teen on CBS-TV, rues., 8:30 I'M. EDT foi Marlboro Cigarettes and Pillsbury Mills.

Happy group arriving at
Carolina Lanes (above, left
to right) Ronnie Littman,
Stephen Franken, Carol Litt-
man, Maggie and Bob Denver,
with Sheija James seated in car.
After a "pin's-eye-view'' of
the alley, and a Denver con-
ference on scoring, the game
began, with the loving Littmans
as audience. Bob Denver was
given a trophy for rolling
the most channel balls!

Lw\ <^l

in,f%«^

ID
(10

^F " '^M

St Xr^'te at

s .

i il Al

fctf

3!)

The Man Who Lookd

Happy husband is no "act." Frank and the former
Christina Randazzo were married early this year.

Say hello to Frank Gorshin.
Then don't turn your back for an
instant! When next you look, he
may be making like Karloff or Como

by PETER J. LEVINSON

The scene was Las Vegas, early this year. The
occasion: Bobby Darin's hit show at the
Flamingo Hotel. The surprise: A young man
named Frank Gorshin who took the stage before
Darin's own performance. Few recognized the
name. Some recognized the face — perhaps from
a minor but hilarious role with Judy Holliday
in the film version of "Bells Are Ringing."

There was much more to recognize, in the next
twenty-five minutes, as Gorshin held the audience
spellbound with his mimicry. On stage, in the
person of one small blond, were the looksv
the voices and the mannerisms of a dozen vastly
different personalities: Boris Karloff, Perry
Como, Broderick Crawford, Steve McQueen, Burt
Lancaster, Dean Martin, Robert Mitchum, Jeff
Chandler, Kirk Douglas, Al Jolson, Richard
Widmark, James Cagney! (Continued on page 71)

Comedian turns hoodlum, also serves time as a
blabbermouth convict — on screen, that is. Above,
Frank and David Janssen in fight scene from
MGM's "Ring of Fire." Right, with Tony Curtis (at
typewriter), in U-I's "The Great Impostor."

Like EVERYONE

The Man Who Looks

Happy husband is no "act." Frank and the former
Christina Randazzo were married early this year.

Say hello to Frank Gorshin.
Then don't turn your back for an
instant! When next you look, he
may be making like Karloff or Como

by PETER J. LEVINSON

There was much more to recognize, in the next
twenty-five minutes, as Gorshin held the audience
spellbound with his mimicry. On stage, in the
person of one small blond, were the looks,
the voices and the mannerisms of a dozen vastly
different personalities: Boris Karloff, Perry
Como, Broderick Crawford, Steve McQueen, Burt
Lancaster, Dean Martin, Robert Mitchum, Jeff
Chandler, Kirk Douglas, Al Jolson, Richard
Widmark, James Cagney! (Continued on page 71)

Like EVERYONE

THE
BIG

CORCORAN

CLAN

The acting Corcorans in a rare moment oi

Energetic mother Kathleen Corcoran,

widow of Bill Corcoran who was MGM guard,

with her two youngest children.

When it comes to talent in a

big package, there is simply nothing
to compare with the Corcorans —

Hollywood's actingest family!

t to right: Bill, Donna, Noreen, Hugh, Kevin, Brian, Kerry, Kelly and four-footed friend.

Managing a family of eight children is no snap under any circumstances. But when seven of the
eight are movie and TV performers, the problems multiply — to put it mildly. Cheerfully facing
the day-to-day management of such a brood is Mrs. Kathleen Corcoran, who handles contact work and
chauffeuring duties for: Bill, 21; Donna, 19; Noreen, 17; Hugh, 13; Kevin,' 11; Brian, 9; Kerry, 8;
Kelly, 2V2. As her best working assistant, she has oldest son Bill, who started in movies but gave it up
to take his college degree from San Fernando Valley State College. The rest of the children are all
actively working for major Hollywood Studios. Donna, the oldest daughter, started acting at
eight for MGM and was seen last season on TV's The Asphalt Jungle. Noreen is featured with John
Forsythe on Bachelor Father, now moving into its fifth season. Hugh has numerous dramatic credits
with major TV series and appeared in "The Bridge," which won a Cannes Film Festival award.
Kevin and Brian are under contract to Disney, and Kerry has also worked in Disney films.
Kelly — just starting — guested on Bachelor Father with sister Noreen. That's a lot of success under one roof!

Continued

THE
BIG

CORCORAN
CLAN

Energetic mother Kathleen Corcoran,

widow of Bill Corcoran who was MGM quard,

with her two youngest children.

The acting Corcorans in a rare moment of rs

When it comes to talent in a

big package, there is simply nothing
to compare with the Corcorans —

Hollywood's actingest family!

Lett to right: Bill, Donna, Noreen, Hugh, Kevin, Brian, Kerry, Kelly and four-footed friend.

Managing a family of eight children is no snap under any circumstances. But when seven of the
eight are movie and TV performers, the problems multiply — to put it mildly. Cheerfully facing
the day-to-day management of such a brood is Mrs. Kathleen Corcoran, who handles contact work and
chauffeuring duties for: Bill, 21; Donna, 19; Noreen, 17; Hugh, 13; Kevin,' 11; Brian, 9; Kerry, 8;
Kelly, 2Vz. As her best working assistant, she has oldest son Bill, who started in movies but gave it up
to take his college degree from San Fernando Valley State College. The rest of the children are all
actively working for major Hollywood Studios. Donna, the oldest daughter, started acting at
eight for MGM and was seen last season on TV's The Asphalt Jungle. Noreen is featured with John
Forsythe on Bachelor Father, now moving into its fifth season. Hugh has numerous dramatic credits
with major TV series and appeared in "The Bridge," which won a Cannes Film Festival award.
Kevin and Brian are under contract to Disney, and Kerry has also worked in Disney films.
Kelly— just starting— guested on Bachelor Father with sister Noreen. That's a lot of success under one roof!

4'antlnuv d

With seven actor-students in the family, one
must help the other. Noreen tutors sister Kerry.

Helping Noreen in nightly roll-up-
the-curls routine is elder sister Donna.

ly tu

'I i ■': :\

shared, as well as family chores. Here Kelly, the

THE
BIG

BIG

CORCORAN
CLAN

(Continued)

'baby," beats the bongos, Bill plays guitar. Audience: Kerry, Donna, Noreen.

v, '>*:•'' ,:•'•'<:

Bill, mother'^

1
I

Family conferences often take place in the kitchen over soft drinks or milk. Food shopping
is usually done once a week in volume. A typical list: 10 loaves bread; 5 lbs. butter, 25 lbs. meat, etc.

Donna plays piano for family song-fest with

Kevin, Brian and Kerry (left to right) singing up a storm.

d man, mows lawn. Hugh, Noreen, Donna help.

With seven actor-students in the family, one
must help the other. Noreen tutors sister Kerry.

Helping Noreen in nightly roll-up-
the-curls routine is elder sister Donna.

THE
BIG

BIG

CORCORAN
CLAN

(Continued)

Family fun is shared, as well as family chores. Here Kelly, the
'baby," beats the bongos, Bill plays guitar. Audience: Kerry, Donna, Noreen.

i. ,k„oII /am!'y conferenFes often fakAe Place ,in ^e kitchen over soft drinks or milk. Food shopping
is usually done once a week ,„ volume. A typical list: 10 loaves bread; 5 lbs. butter, 25 lbs. meat etc

Donna plays piano for family song-fest with

Kevin, Brian and Kerry (left to right) singing up a storm.

*»*

^^•H^*"-'

vniwn

On Broadway, the star's a bachelor — in the comedy hit, "Come
Blow Your Horn." At home in Scarsdale, N.Y., there's a lovely
wife and four children — with another expected! Pictured on these
pages are: Steve, 8; Missy, 6; Pete, 4; Jeffrey, half-past-one.

Hal March, that is.
The radio host with the most

For Hal and his wife Candy, this is "the dream home." Indoors,
they've furnished it with elegance and love. Outdoors, they've
filled the spacious acres with fun and games and barbecues for
the kids — and also for Hal's mother, as seen in center, below.

by DENA REED

It's a seven-day work week for Hal March, now
that he's taken on the hosting chores for NBC
Radio's Monitor on Sundays from 3 to 6 p.m.
edt. But, for Monitor, Hal's more than glad to do
it. "With its pick-ups from abroad, its interviews
and scoops on the news," he says, "it has an
immediacy about it which makes it tremendously
interesting. We were the first to announce there
would be a meeting between Kennedy and
Khrushchev — you have to respect that kind of
show! I have a radio with me, wherever I am,
and I always listen to the talk shows. I like work-
ing in radio," he adds, "because it was one of
my first loves, and I find it a challenge to create
an impression with (Continued on page 64)

Monitor ,61, NBC Radio's weekend service, is heard Sat.,
from 9 A.M. to 10:30 P.M. EDT; Sun., from 3 to 10 P.M.

Iimmmmtmm

©/tmkti to tfa

Here's
Helen

O'Connell

by MAURINE REMENIH

You may remember Helen O'Connell best
for the haunting rhythms of her records —
back in the '40s, her version of "Green Eyes"
sold more than three million copies! You
may recall her as the dazzling, dimpled blonde
spotlighted with Jimmy Dorsey's band at
some big hotel or club — if you didn't get there
in person, you were probably listening on
radio. Or perhaps you remember Helen from
more recent appearances on TV's Today —
she played "straight (Continued on page 61)

Here's Hollywood: Hosts Dean Miller and Helen O'C.
react quite differently to actor Gig Young's bongo beat, as
actress Elizabeth Montgomery just "plays it cool"!

Helen O'Connell is co-host of Here's Hollywood, NBC-TV's interview series, as seen M-F, 4:30 to 5 P.M. EDT, under multiple sponsorship.

i/fywood

Helen's home has been in California for

years, but new TV assignment is her first chance

to "stay put" with her four daughters, The

three seen with her here: Joanie (above, left),

blonde Jennie and little Helen (far right).

Many spend their lives running

after it. Some win. Some lose. But they all

have to start somewhere. This is

a definition of that starting point in

Heard in a New York

club, Diana Trask went TV on

Sing Along With Mitch.

THE
MCE

FOR

STARDOM

"Discovered" by letter to

NBC, Annette Cash joined Hugh

Downs on Concentration.

Tested in N.Y., Bruce

Yarnell stars in Outlawsl

Many a career starts with a talent or beauty contest — as at New Jersey's Palisades Amusement

Park (below), where girls don't compete in swim suits but in party dresses (see Leslie Bonnell, 17, on opposite page)

As "Miss American Teen-Ager" of I960, Leslie-

from Valley Stream, N.Y. — received both trophy and $500

from Irving Rosenthal, prexy of Palisades Par*.

by GREGORY MERWIN

A Broadway sage estimates that, every morn-
ing, a thousand Americans jump out of bed,
scrub their teeth, study the mirror — and decide
they should be in show business. Of these, some
thirty will make the trek to New York or Holly-
wood. By year's end, two will still be in the race
for stardom. "It's a rat race," the same sage tells
a young hopeful. "Go back to Peoria. It's a hope-
less business, show business. It's practically im-
possible to become a star."

Impossible? What about Elvis Presley, Connie
Francis, Fabian, Adam Wade, Tuesday Weld, Troy
Donahue, Connie Stevens, Brenda Lee, Leslie
Uggams — to mention just a few of the young

.r)2

people who rate so high in show busi-
ness today? Network TV, local TV,
night clubs, records, stage and screen —
all are hungry for fresh talent.

Where do you get an audition? How
experienced must you be? Do you have
to go to Hollywood or New York?

First, there are the talent and beauty
contests. On any one day, there are
hundreds throughout the country — the
amateur show at the local theater,
the search for a high-school deejay
or the queen of the community picnic.
Each is an opportunity for recognition.

This fall, for the second time, a young
girl will be selected Miss American
Teen-Ager. Last year, at Palisades
Amusement Park in New Jersey,
15,000 girls turned up. They were
judged on beauty — but in prom gowns,
not bathing suits. And they were rated
on personality, charm and social danc-
ing ability. If you live in Pennsylvania,
Connecticut, New York or New Jersey,
you can have an entry blank and in-
structions by writing Palisades Amuse-
ment Park, Palisades, N. J.

There's a new and novel contest for
actors and actresses, too. Warner Bros.,
along with Fairchild Camera and In-
strument Corporation, is conducting a
nationwide talent search. It is frankly
a promotional stunt, but it is one talent
contest where you need go no further
than your local camera supply store to
pick up instructions and rent a camera
to make your own "screen test."

How do you get a chance at TV?
Simple. You write to the casting offices
of the big networks, in either New
York City or Hollywood.

Will they encourage you to come and
audition? Bob Martin, of CBS, New
York, says: "If someone writes me who
lives in New York City or vicinity, it
is one thing. But, when we answer a
letter from out of town, we try to dis-
courage the writer from coming to New
York. We suggest that they come up
to audition only if they are in town on
other business." And Rick Kelly, who
heads up NBC's casting office, says: "In
effect, we write the same letter — al-
though anyone who wants an audition
can have one."

The networks cannot take on the
legal or moral responsibility of encour-
aging a correspondent to come to New
York for an audition. But, once you
get there, they will guarantee you get
a chance to perform. CBS auditions
about 2,000 new people every year.
Most are actors, but some are singers,
dancers, variety performers.

And these are the hard facts: Out of
the 2,000 who audition, some sixty get
a job. Martin estimates that one out of
a hundred may get some work within
two or three weeks, and two others
may be called back within the year.
In August of 1959, NBC announced
the initiation of a talent discovery and
development program that is still in

operation. Director of the program is
David W. Tebet, Vice-President, Talent
Relations. Since the program began,
about two thousand people have been
auditioned — models, actors, singers,
dancers. Says Rick Kelly, head of the
casting office: "People ask me what I'm
looking for. I want to say, 'I don't know,
but you come in and do for me what-
ever you do.' We will see anyone, an
accordionist or singer or juggler."

Just as at CBS, an audition can be
set up at NBC with a letter, if the
writer indicates serious intent. Credits
and experience are studied — but they
may be hometown experience, or work
in a little-theater group or small clubs.

In the past year, NBC has signed
three new talents to a contract: Bruce
Yarnell, Diana Trask and Annette Cash.
Of the three, Yarnell came through the
system of auditions.

Bruce Yarnell, handsome, six-five,
was a singer with a legitimate voice
who had sung opera and musical
comedy. When NBC put him under
contract, he was without a job. He
didn't go on TV immediately, but has
been on Broadway. And, this fall, he
becomes a co-star on NBC-TV's hour-
long series, Outlawsl

Not all the talent "finds" at NBC
come through studio auditions. Tebet
and Kelly spend time at little theaters
off -Broadway and at clubs, looking and
listening. Tebet caught Diana Trask
singing at The Living Room. Now un-
der contract to NBC, Diana will be a
regular feature on Sing Along With
Mitch, this coming season.

Annette Cash was discovered through
a personal meeting arranged through
a mutual friend. "Annette is a beauty,"
Tebet says, "and was a young but very
successful model from Dallas when I
met her. She had no acting experience.
Rick and I gave her something very
difficult. With no direction and with
no coaching, we gave her a script and
put her on a bare stage. This kid came
through like Gang Busters." Annette
is being sent to a dramatic teacher, has
appeared as a "girl-of-the-week" on
Today, and with Hugh Downs on the
nighttime edition of Concentration.

"We also maintain interest in those
who don't reach the contract level,"
Tebet says. "Small parts come up,
where we can get a youngster started.
We have been getting a lot of girls
work on The Price Is Right. Just re-
cently, the Paar show discontinued
auditions because they felt they were
duplicating our work. Now, when we
see someone we think they will be in-
terested in, we pick up the phone."

A man who has met as much new
talent as any other living person, Ted
Mack of The Original Amateur Hour,
comments on the same subject: "I
spend a good bit of my time trying to
give people a break out of show busi-

ness. With the very young ones, I try
to talk them into considering music — or
whatever — as an avocation, not a ca-
reer. Generally, I try to discourage.
Then, if they have the necessary drive
and the rest of it, they'll say, 'Ted Mack
is a jerk' — and go ahead, anyway."

After more than a quarter-century,
Amateur Hour still remains one of the
prime showcases. To audition for
this one, write: Original Amateur
Hour, Box 191, Radio City Station, New
York, N. Y. Auditioning crews travel
around the country and it's likely, if
you are patient, that you can be heard
in the vicinity of your hometown.

Sometimes very exciting talents get
passed over in auditions. Connie Fran-
cis appeared on the radio version of
Original Amateur Hour, but flunked
out on the television audition, and was
very disappointed. Connie's luck was
in meeting her manager, George
Scheck — who, for eight-and-a-half
years, produced a TV show called
Startime. Bobby Rydell and Bobby
Darin also worked for him on Startime,
and Scheck is highly qualified to com-
ment on the market for young singers.

"It's wide-open," he says, "and we're
no longer restricted to rock 'n' roll.
Recording companies are interested in
a variety of sounds, and the clubs are
open to the youngsters. Again, ex-
perience and training aren't so im-
portant."

Scheck points out that ninety-five
percent of the recording companies are
in New York City. "Unfortunately for
the singer, there is no substitute for
coming to New York to audition.
Demonstration records don't work.
They come in by the hundreds and
seldom get attention."

Scheck recalls that Darin walked into
his office and introduced himself.
Scheck's newest singer, Howie Temkin,
a sixteen -year-old, is another who
walked in. Adam Wade, Dion and a
number of others are among those who
started on the top floor of New York's
Brill Building and knocked on doors
until they found someone who listened
and liked.

And there it is — for singers, actors,
comedians, any kind of a performer.
Experience and recognition are to be
had, wherever you are. But oppor-
tunity for stardom lies in New York or
Hollywood, ultimately or immediately.
No one can, or should, encourage you
to move. The decision must be a lonely
one. There are those who will try once,
twice or three times, and quit. And
there are those who will undergo trial
by fire, over and over — and still don't
make it.

As Ted Mack says, "Someone, an
honest person, should talk about the
horrible mortality in show business. It
can kill the spirit of an ordinary man.
But, luckily, some rugged souls ignore
it and become stars."

SPECIAL MIDWEST STORIES

Singer Tommy Sands — was "discovered" by Bob.

MOSTLY
MUSIC

. . . best explains Bob Kay's shows for
WAVE-TV, Radio. ''Mostly wonderful"
best describes the broadcaster himself

■t

■ As a small boy growing up in Springfield, Illinois,
Bob Kay never had any doubts about what he wanted
to be when he grew up. Even then, he knew that a
broadcasting career was his goal in life. He had his own
makebelieve radio station. It consisted of a wind-up
phonograph and old Victor records. Bob would play
the records, make announcements, and read commercials
from ads in magazines. When Bob was seventeen, a
neighbor heard him announcing at a high-school assembly.
She knew an announcer at the local radio station
and arranged an audition for Bob. The result was a part-
time job. After only three years, he had become chief
announcer and also program director. . . . Today, Bob's
show Mostly Music is heard over WAVE in Louisville,
Kentucky, from 8 to 11 a.m. and 1 to 3 p.m. daily. He also
does news and weather on both WAVE Radio and
WAVE-TV. ... A bachelor, Bob lives in a suburban
six-room brick house with his small black dog "Nifty."
Bob may not remain a bachelor very much longer,
however. Not long ago, he mentioned on the air that rain
was threatening — and he had some clothes out on the
line. A listener (and obviously a much-admiring fan)
went to his house, took down the clothes and folded
them neatly in a basket. When Bob got home that
night, he found the basket with a note on top '. . .
it contained a proposal of marriage!

Bob sees WAVE contest winners off to California.

Multi-Voiced
HUMORIST

Dave makes his own puppets (of wood, rubber and
plaster of Paris); gives them frequent touch-ups.

That's how Dave Lee is known
in the Minneapolis — St. Paul viewing
area. But he's also puppeteer,
emcee and producer for WTCN-TV

Afresh and original talent is versatile Dave Lee, who
has won kudos in the fields of television and radio
for both children's and news shows. Lee is master of
ceremonies, puppeteer, multi-voiced humorist, producer
and what-have-you of Popeye 'N' Pete With Dave Lee,
seen Monday through Friday, at 4 p.m., on WTCN-TV in
the Minneapolis — St. Paul Twin Cities area. . . . Dave's
popularity with those final judges, the kids, is established
without doubt by the six-month waiting list for admission
to his show! Within a week after the start of Dave's
series (in April of this year), WTCN found it necessary
to institute an "admission by ticket only" policy, with

an iron-willed assistant in charge of doling out the ducats
to Cub Scout den mothers, teachers, and harassed
parents. Also, more than 10,000 children belong to his TV
club. . . . Lee's co-stars on the show include not only
the well-known, spinach-eating sailor (who appears in
filmed cartoon adventures) and "Pete the Penguin," but
also a long list of fascinating personalities such as "Elf
Sargeant Littlejohn," "Fragrant the Skunk," "Omar the
Alligator" and "Lionel Longhair" (a dog) . As practically
everybody knows, the co-stars are hand puppets for
which Lee supplies the motion and the voice. ... A native
of Milwaukee, Lee attended the University of Wisconsin

Mom Peg and dad Dave are temporarily forgotten as
tiny Heather discovers several "playmates" more her size.

at Milwaukee, Butler University in Indianapolis, and
Purdue University Extension in Fort Wayne. He gained
early experience as a reporter on weekly newspapers,
then moved into a career which has included advertising,
promotion and broadcasting. His television credits also
include top news and children's programs in Indianapolis,
Indiana, and Tampa, Florida. . . . Wife Peggy and
daughter Heather are daily fans of the Lee television
efforts, and professional critics, as well — Peggy from
several years of on-camera work herself, both with Dave
and with commercial announcing, and Heather as an
expert on the antics of her favorite puppet animals!

KFAB's Walt Kavanagh has one
goal in his work — "to tell the
news as quickly, interestingly
and accurately as possible"

When Walt Kavanagh was no
older than his oldest daughter
is now, he learned that the most im-
portant thing he could do was to
listen while others, more informed
than he, were speaking. Today, the
most important thing he can do is to
speak so that others, less informed
than he, can learn. Speak he does —
and the greatest radio audience
which assembles for any one Omaha
broadcaster, listens. For Walt Kav-
anagh, news director, is also featured
newscaster for Radio KFAB. He is
on early in the morning. He broad-
casts again at noon, and at 5:30 in
the afternoon. In between, he's gath-
ering and preparing news for broad-
cast, covering important events, con-
ducting interviews and supervising
the activities of a five-man staff,
three mobile units, and the unique
Editorial Voice of the station. . . .
Says Walt Kavanagh, "Our job is to
tell the news as quickly, as interest-

ingly, and as accurately as possible.
Where feasible, we have a reporter
on the scene — for example, our po-
lice reporter broadcasts direct from
the press room in police headquar-
ters. Our mobile units chase fires,
fugitives, and accidents. We cover
elections from where the ballots are
counted. On-the-spot-as-it-happens
coverage is radio news' big advan-
tage." . . . Walt's entire journalism
career has been in radio news. He
trained for it in college, then almost
missed getting into broadcasting. "If
it hadn't been for an enterprising
radio-station manager, I would be in
public relations now," he says. Actu-
ally, Walt had completed three years
of college journalism at Creighton
University without any training or
thought of training for broadcast
news. It wasn't until his fourth year
— after time out for military service
— that he was encouraged (by a
speech professor) to apply his news

training to broadcasting. Walt grad-
uated in 1947. "But 1947 was a tough
year to break into radio," he re-
members. "I auditioned for three
months, all over the Midwest, but
there were no openings. An attrac-
tive public relations job had been
offered, and I had to make up my
mind. I decided, on a Friday, if no
radio offer came by Monday, I'd take
the p.r. job and forget about radio.
But that Friday night, I received a
telegram from KFJB in Marshall-
town, Iowa, asking if I were inter-
ested in working there. I drove out
the next day, auditioned, and was
hired. The funny thing was that I
had never applied in Marshalltown!
The manager of KFJB had gotten
my name from checking with some
stations in Des Moines, where I had
applied." . . . After gaining two-and-
a-half years' newsman experience in
Marshalltown. Walt came back to
Omaha, via a news job at a sunrise-

Walt and his children — Mary
Joann, 8; Kathleen, 10;
and Walter, 5 — enjoy antics
of "Prince" (at left) and a
quiet discussion period with
Mrs. Kavanagh (below).

to-sunset station. Two years later —
in 1952 — he joined the news staff of
KFAB. In 1957, he took over as news
director. . . . The biggest problem
Walt has had to overcome was ad-
justing his family life to his working
schedule. He uses two alarm clocks —
and an all-out exercise of what he
calls "somnambulistic will power" —
to get up and out of bed by 4: 30 a.m.,
in order to reach the newsroom in
time to be on the air at 6 a.m. "It was
pretty hectic, when it first started.
But, by now, my wife and three chil-
dren are used to my stumbling
around in the pre-dawn darkness."
The Kavanaghs live in a suburban
Cape Cod-style home. Because of his
long working day, Walt works a split
shift, commuting two or three times
a day from his home to the office. "It
gets pretty rugged, especially in bad
weather, but that's the news busi-
ness," says Walt. And news is the
business of Walt Kavanagh.

PRESS INTERNATIONALE

Pre-telecast talk — I. to r. — newspaper writer Nicholas Shuman, editor George Kittnar, show host Bob
Lewandowski, moderator Richard Applegate, editor Richard Sperber, newspaper writer Guy Lansillotti.

What are foreign newspapers saying

or not saying . . . and why? A WBKB-TV

panel tries to provide the answers

Key men of show — I. to r. — director Richard Locke, host-
producer Lewandowski, moderator Richard Applegate.

■ Press Internationale, the public affairs series which
premiered on WBKB-TV, Chicago, last spring, proves
that there really is something new under the sun,
after all. Originated by program host Bob Lewandowski,
moderated by veteran newsman and correspondent
Richard Applegate, the series reports how news from
the United States is interpreted in the foreign press
all over the world. Thus — for the first time — the Ameri-
can public, or that segment of it viewing Press
Internationale, can get an inside view of what the
world thinks about major United States events. . . .
Guests on the show include active journalists
presently employed by foreign-language newspapers,
and others who may, because of specialized journalistic
background, offer insight into news developments in
foreign lands. A typical group visiting the show last
spring included Nicholas Shuman, staff writer for
Chicago Daily News and a specialist on Russian
affairs; George Kittnar, editor of Chicago's "Denni
Hlasatel," who reported on Czech press; Richard E.
Sperber, of Chicago's "Abendpost," covering Austrian
and East German press. ... To keep the show moving
briskly is Richard Applegate, a newsman since 1934
but a foreign correspondent for United Press for the
past fifteen years. Applegate 's wide experience includes
Navy service in World War II, and extensive foreign
reporting after the war in the Far East. He learned
about the Chinese Communists the hard way, when
he was captured by the Chinese Reds and imprisoned
for seven-and-a-half months in solitary confine-
ment. . . . Comments about the show have been received
from many admiring viewers, including James R.
Taylor, who is Director of Television at DePaul Uni-
versity. He wrote: "About the best compliment that
we can pay you is that we wish The University Broad-
casting Association had thought of the idea first."

Young Doctor Malone

(Continued from page 27)
and suspense, love and devotion, as
well as bitter individual conflicts.
Sometimes romance and laughter, to
offset the grief and despair. The entire
gamut of the deepest human emotions
is part of the story. Not all of this takes
place in the hospital itself. It carries
over into the entire community."

Having half an hour a day, five times
a week, to tell the story is in itself a
fascinating opportunity, Carol Irwin
believes. It gives everyone the chance
to expose character in depth, and char-
acter relationships and conflicts. "We
have time to explore, develop and re-
solve situations to a degree impossible
in any other form of television, and yet
each day's story moves at a rapid pace
and the characters are sharply etched.
"Women loved the old daytime radio
serials," . says Mrs. Irwin, "but these
introduced few characters and followed
a very slow plot development. The
techniques and cliches were successful
for that time and medium, but not for
today. We make the same approach to
our daytime show as we would to a
nighttime drama, or stage play. Our
actors come from nighttime TV and
the stage, and frequently double on
Broadway."

Young Doctor Malone stresses maxi-
mum action and minimum conversa-
tion, because Mrs. Irwin and the di-
rector, James Young, deplore a static
camera. Director Young employs as
many camera shots and as difficult ones
as are needed to tell the story effective-
ly. "You will never see two people
sitting on a couch, just talking, for very
long," Mrs. Irwin points out. "We
strive for dynamic movement of plot,
with the characters in action. Perhaps
viewers are unaware of this. But, if
the action lagged and the camera work
became static, they might begin to
wonder why they felt tired, perhaps
even bored. We believe that a static
camera is one of the intangibles which
cause viewer ennui."

Despite its hospital locale and the
realistic life-and-death situations por-
trayed, the program shuns brutal or
sadistic scenes. "We have never shown
a brawl or fight. We have shown the
effects of attempted homicide, with
resulting court trial, because this was
a logical sequence in the story. But we
do not introduce violence where it
does not belong — in a program which
comes into the home at a time when
children may see it."

The basic themes center around a
group of dedicated doctors — Dr. Jerry
Malone and his adopted son, Dr. David
Malone; Dr. Stefan Koda and Dr. Ted
Powell. An important "non-medico" in
the cast is Lionel Steele, businessman.
Major feminine roles are Jerry's wife
Tracey and their daughter Jill; Clare

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Bannister and Faye Bannister Koda;
Lisha Steele Koda; Lillian Houseman
and her daughter Gig. But the focal
point is always the hospital itself, and
the place it fills in all their lives and
in the community.

"We are not doing a documentary,"
Mrs. Irwin observes. "We are present-
ing truth within a fictional framework.
Our head writer, Ian Martin, checks all
medical material with the chief of staff
of a well-known hospital, a general
practitioner, and specialists in various
fields. He consults with the American
Medical Association. A while ago, we
explored a malpractice suit, which is
something that sometimes happens to

doctors and to medical institutions. For
this purpose, we conferred with the
producer of a series of educational
films for the medical profession and
with the A.MA.'s legal department and
our own lawyers. In the pursuit of
authenticity and truth, we have met
with the Department of Health, Educa-
tion and Welfare, to discuss proposed
story material. Every script is checked
carefully from a medical point of view."
In addition, the pictorial impact of the
program is carefully considered. "We
believe in pictures that please the eye,
not only from the standpoint of com- R
position but also from the standpoint
of content. Some of our interiors may

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be a bit more attractive than those
usually found in homes of the income
group depicted. The TV camera itself
tends to make things look a "little bet-
ter, a little nicer than they are. But we
see only good in 'grading up' rather
than down.

"Magazines and the movies have
been doing this, for years, and have
been a potent influence on public taste
in home furnishings and fashions. Most
people would like to make their homes
a little more interesting and attractive.
Our thought is that women like to see
such rooms on TV and that sometimes
they get ideas they can use, from
watching sets designed for our show."

The mail is gratifying, almost over-
whelmingly favorable, and shows an
amazing degree of attention to and con-
centration on the program itself and
the actors. No one person is singled
out for all the mail. It comes addressed
variously to Mrs. Irwin, to James
Young, to individual actors, and to the
NBC network. For a while, there was
an, enormous amount of daily mail con-
cerning Clare Bannister, who was be-
having outrageously. She was reviled
by many letter-writers — until disaster
struck, in the form of temporary blind-
ness. Then sympathy for her took over.
"Don't let anything happen to her, she
has been punished enough," was the
general tenor of the mail.

"Our audience is intelligent, literate,
understanding. They realize that nice
people can sometimes do some dread-
ful things, and so-called bad people
occasionally perform acts of great no-
bility," Mrs. Irwin says. "They always
feel sorry for the underdog — that's an
American quality."

When Judson Laire, who plays Em-
ory Bannister, left the cast to go into
the Broadway stage hit, "Advise and
Consent," he "died" in the Young Doc-
tor Malone script. Not only did this ex-
plain his absence, but the death was a
natural outgrowth of the way the story
line was veering. "In spite of the fact
it had been well publicized that Judson
was leaving us to accept a major stage
role, we got condolence cards from
viewers to whom Emory Bannister had
become a very real person they loved
and respected. Each Christmas we are
pleased, and touched, by the many
charming cards from our friends 'out
there' — not only for the cast, but the
whole production staff."

Final responsibility for a program
such as this is, classically, that of the
producer. Mrs. Irwin, however, gives
full credit to what she says is — in
every sense of the word — a team effort.
"It would be impossible of achieve-
ment otherwise. Each person — writer,
director, associate producer, our fine
cast of actors, designers, property men,
stagehands, electricians, lighting di-
rector— is individually important. The
very important technical director,

Frank McArdle, our talented musical
director, Billy Nalle, the audio and
video men, the staff at the NBC offices
and studio — all contribute to one
smoothly operating team which gets
results with a minimum of the fuss and
hysteria so often associated with tele-
vision, especially a live half-hour
series every day."

Much of this lack of fuss and hys-
teria is due to Mrs. Irwin's knowledge
of her job and the skills she has de-
veloped during her years of working
in radio, as well as pioneering in TV.
She learned the fundamentals at Sta-
tion WCAU (which was then KYW)
in Philadelphia, became radio super-
visor for a large New York advertising
agency, headed the daytime radio de-
partment, later becoming an account
executive. She then headed up ABC's
new program development department,
became production executive for the
famous Theater Guild On The Air,
produced and developed other major
shows such as Stage Door and The
Girls, for CBS.

She has been both writer and pro-
ducer for that classic of radio daytime
serials, The Second Mrs. Burton, has
supervised and produced many others,
including the Claudia series and The
Fanny Hurst Show. Dozens of night-
time dramas, featuring famous Holly-
wood, stage and TV stars, have come
under her jurisdiction. For eight years,
she packaged and produced the famous
Mama show on TV, and she has been a
radio and TV consultant for industrial
clients.

All this experience and background
has taught her great respect for the
audience, daytime and nighttime. Espe-
cially for the woman who tunes in for
entertainment, for an escape from
household jobs or from loneliness. For
all those who look upon this half hour
as a chance to "visit" with friends —
those friends on TV whose lives unfold
a little each day, and whose stories
grow more and more interesting.

"The audience is neither that so-
called 'twelve-year-old mentality' fool-
ish people insist it is, nor is it a myth-
ical monster to whom we all must
cater but can never hope to please.
The audience is you, and me. Our
friends, our neighbors, our ' relatives.
Housewives, young mothers, and older
people with time on their hands. The
grocer, the postman, the architect, the
scientist. Frequently, if his time per-
mits, the doctor — and his nurse! In
short, everybody."

One of the show's fans is Patrick
Dennis, author of "Auntie Mame" and
"Guestward Ho!" Although she can't
vouch for it "first-personally," Mrs.
Irwin has been told that constant view-
ers include many famous stage and
screen stars. "But we value all the
audience," she says. "We believe that
our best is none too good for them."

Here's Helen O'Conneil

(Continued from page 48)
man" for the gags of the Garroway
gang for almost two years. Whatever
your memory of Helen may be, it's sure
to be a pleasant one — just as there's
joy in renewing her acquaintance now,
as femme interviewer on daytime's
Here's Hollywood.

With her new chores, Helen feels
she's finally found the niche she's been
waiting for. "I love to work," she ex-
plains. "But, all my working life, I've
been looking for a job where I could
stay put. It seems as though every job
I've ever had, has called for travel — or
at least an uprooting. Even the New
York job on Today meant leaving
Hollywood and this house I bought
twelve years ago. Now, maybe I can
really stay put!"

For Helen, "all her working life" has
been almost synonymous with "all her
life." She was teaching dancing at the
age of thirteen, back in Toledo (where
her family had moved from her native
Lima, Ohio, when Helen was six).
"Mother agreed I might take dancing
lessons," she recalls. "So, after the first
two or three lessons, I began taking
on pupils. I was never more than a
lesson or two ahead of my students!"

This early enterprise came in handy
— sooner than Helen and her family
wished. Before she was fourteen, Hel-
en's father passed away. It became
necessary for Helen to leave school and
get a job, to help support the family.
(She finally graduated from high school,
twelve years later, by taking night
classes at Hollywood High School, be-
tween babies!)

She had appeared, on several occas-
sions, on a radio amateur hour over To-
ledo's Station KSPD, had "filled in"
occasionally when sister Alice was un-
able to make singing dates, and one of
her own first paying jobs was with the
Jimmy Richards band. Later, Helen
moved to St. Louis, to five for a while
with her sister and brother-in-law,
Glenn Hardman. There she sang with
Russ David's band, and did a fifteen-
minute daily radio show. At the Chase
Hotel, she also sang with Larry Funk,
whose group tagged itself "the band
with 1,000 melodies"— "and I sang 999
of them every single night," she sighs.

Larry Funk moved on to the Village
Barn in New York, and Helen went
along as soloist. It was here that Jimmy
Dorsey first caught Helen's act — and
promptly signed her up. From 1939 to
1943, Helen sang with the Dorsey band,
up and down and across the nation.

Late in 1941, Helen was married to
Clifford Smith Jr. With the birth of
their first daughter, Jackie, in 1944,
Helen "retired" from show business.
Jackie was joined, in 1947, by sister
Joannie — and, in 1948, by Jennie. By
this time, the Smiths had moved to

Hollywood and, in 1949, Helen bought
the home where she still fives. But her
marriage broke up, and she set out to
make a comeback, once more the wage-
earner for her family.

That comeback was a phenomenally
successful job. She joined Dean Martin
and Jerry Lewis in a night-club and
theater tour across the country, then
went out on her own, with a solo act.
After that came television — as sum-
mer replacement for Perry Como's fif-
teen-minute show, as star of the spec-
tacular, "Manhattan Towers," in No-
vember, 1956. And, eventually, her
two-year stint on Today.

It was while she was on the Garro-
way show that Helen married Thomas
Chamales, the well known novelist and
screen writer. She left the show only
when their daughter, Helen, was born
three years ago. Again, it was back to
domesticity for Helen O'Conneil, who
didn't care if she never made another
public appearance. She had her lovely
home fairly bulging at the seams with
daughters. Why hit the night-club cir-
cuit again?

Then came Chamales' tragic death,
last year, and Helen admits to a period
when she "just sat" and did nothing.
"Friends would drop by, in an obvious
and well-intentioned attempt to cheer
me up, to jolt me out of my lethargy.
Nothing seemed to work. But I guess
that even I can take only a certain
amount of domesticity. Our house, like
almost any house where there are chil-
dren coming out of the woodwork, is at
its hectic worst about five o'clock on a
Friday afternoon. One particular Fri-

day, a friend and I were making a val-
iant attempt to carry on a conversation,
in spite of continued interruptions by
the girls.

"And then the phone rang. It was my
agent. He was calling, he explained,
simply as a routine matter. He knew I
always refused all night-club dates —
I'd been doing it for years. But he had
an offer for me to open at the Moulin
Rouge, the following Tuesday evening,
and he just wanted to get my official
word on it. I stood there and looked out
across the den — which seemed, at that
moment, to be a seething maelstrom of
girls and toys and cats and dogs — then
I gasped into the phone, 'Tell them I'll
take it!'

"That was one wild weekend! I had
to haul my trunks out of the cabana,
out by the pool. My formal club-type
gowns hadn't been out of those trunks
for seven whole years! Thank heaven,
they were all classic, timeless things
designed by Don Loper. All they needed
was a little pressing, and they were
ready for the spotlight. I needed more
than a little pressing myself, though.
Between Friday and Tuesday evening,
I had to work up arrangements, get in
some rehearsing with the orchestra,
have my hair and nails done — three
million things!

"I never did have time to get into
the mood for the thing. But it went off
well, and I've played several club dates
since then. I like the hard work in-
volved in a night-club engagement —
and, the way I sing, it is hard work!
But hotel rooms get to be an awful
bore, after a while. And I don't like

Back in show-biz circulation, Helen O'Conneil catches up with fan
ma;| — ancj a letter to daughter Jackie, attending school in the East.

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having to be away from home and the
girls!"

It doesn't take long to discover that
"baby" Helen is the star of the house-
hold. She's a natural-born pixie, and
her mama and the older girls make the
world's best audience. "When she wakes
from her nap, she never yells for at-
tention, or cries," the older Helen grins.
"She just stands up, hangs onto the
edge of the crib, and starts chanting a
soft, sing-song 'Thumboddy come and
get the baby up, thumbody come and
get the baby up — ' quietly and per-
sistently, until thumbody gets the baby
up!

"Where she got the idea, I'll never
know, but she's convinced that she
owns the Bel-Air Sands Hotel. And her
favorite game is to get 'all dressed up.'
For her, that means a pair of my eve-
ning slippers, nylons hooked haphaz-
ardly to a miniature girdle someone
gave her, any jacket she can lay her
hands on, and any hat — preferably big —
that she can get hold of. Then she grabs
a purse, also big, and announces to any
and all within hearing range, 'I'm going
over to my Bel-Air Thandth Hotel to
meet thum friendth from the airport!' "

It isn't just the lisp which makes little
Helen a constant source of entertain-
ment for her sisters and mother. For a
three-year-old, she is — as Mama Helen
says — really " 'way out." Queried about
what she wanted Santa to bring her
last Christmas, she tossed off a list
which included "two dark-blue clouds
and a somersault." (Of course, with
her, it came out "two dark -blue cloudth
and a thomerthault.")

Big sister Jackie, now away at board-
ing school in Rhode Island, promises
some of the same enterprise her mother
showed at an early age. Her marks,
Helen confesses ruefully, leave some-
thing to be desired. But she rates an
"E" for enterprise. She's gone into the
"beauty business," teaching "Holly-
wood glamour makeup" to her fellow
students — at seventy-five cents a ses-
sion. "And, believe me, she's the gal
who can do it," Helen laughs.

"Not long ago, a friend escorted me
to the airport where I was to meet 'my
little girl' as she came home for a holi-
day. As Jackie started down the ramp
from the plane, I screeched, 'There she
is! There she is!' My puzzled escort kept
looking around, trying to find a 'little
girl' somewhere. It wasn't until Jackie
came over, and bent down from her
five feet, eight and one-half inches —
plus heels — that he was convinced this
young lady was my daughter. S'funny
— but I just realized I haven't seen
much of him since that day!

"I suppose it might become a bore,
but wouldn't it be too delightfully sim-
ple for parents if all their children were
the same — all responded alike to the
same treatment? Me, I've got four

daughters, and no two of them even
remotely the same personalities. Joan-
nie, just turned fourteen, is our day-
dreamer. That coffee table has been in
the exact same spot for at least five
years — and every day, regularly, she
walks across the room and stumbles
over it.

"She's our Mrs. Malaprop, too. I re-
member once, back when she was only
four or five, I made a rare (for that
time) television appearance. They all
watched the show at home, and greeted
my return ecstatically. Jackie, who was
quite articulate, was telling me how
well I photographed, and how beauti-
fully I performed. Not to be left out,
Joannie chimed in, 'Oh, Mommy, Merry
Christmas!' Since this was sometime in
May, I was a little puzzled — until I
realized that, to her, this was one of the
sweetest-sounding phrases she knew!

"As for Jennie, she seems very quiet,
almost shy. But watch out! Those big
blue-gray eyes and that blonde hair —
the phone is busy all the time already,
and I'm going to be sweeping the swains
off the doorstep in a couple of years!"

How Helen was tabbed for her cur-
rent assignment is something of a puz-
zlement to her. Of course, any viewer
who remembers her glib repartee on
the Garroway show would know why
the Here's Hollywood producers would
seek out Helen. But too fresh in Helen's
memory is a brief stint at an interview
show on a local Los Angeles station.
"They couldn't have caught that show,"
she laughs, "or they'd never have hired
me for this!

"I remember one day in particular.
For weeks, I'd touted the producer on
one of my oldest and dearest friends,
Joanne Dru — she's doing the Guest-
ward Ho! show now. I told him how
articulate Joanne was, how fast with
the quip and the colorful phrase.

"So what happens when I inter-
view her? I start firing questions, on
camera — and Joanne comes back with
prim 'yes' and 'no' answers. No elabo-
ration, nothing! Furthermore, as the
interview progressed — progressed? I
should say, as it disintegrated — she de-
veloped a nervous tic in one eyelid. It
fascinated me, and I gazed at her, al-
most hypnotized, and almost forgetting
the sheet of questions on the desk be-
fore me. As soon as the show was off
the air, Joanne disappeared — simply
evaporated. I was just as glad, because
I couldn't face a post-mortem on the
show at that moment.

"For several days, I didn't even have
the heart to call her, and rehash it. Then
I ran into her at the supermart. There
she was — as glib and wacky as ever.
We shared a howl over our wayward
interview, and then Joanne added, 'I
was telling So-and-So about it — and I
do hope you don't mind, darling, but
I gave you the twitching-eyelid bit!' "

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(Continued from page 47)
nothing but your voice. I try to use the
script as a jumping-off place. Rather
than adhere strictly to the lines, I liven
them up with ad-libs." It is Hal who
blends the news, commercials, foreign
pickups and interviews into a cohesive
whole, and he deems it his job to keep
it sprightly enough to hold everybody's
attention.

Right now, the former quizmaster of
TV's The $64,000 Question has two
other major media he works in. Aside
from guesting on television, he also —
six days a week — plays a man who en-
joys his bachelorhood in "Come Blow
Your Horn," the Broadway hit. "Ev-
erybody identifies with that farce," Hal
explains, "and it's a joy to return to
acting, where I started twenty-three
years ago.

"Doing a Broadway show is fine for
me now. It looks as if it will run for
another year, and it recently sold to
Paramount for a picture. Meanwhile,
doing Monitor on Sunday really rests
me from the theater — but it's a chal-
lenge, too. I won't leave it to go on the
road with the show.

"I've come to the place in my life,"
Hal continues, "where my values have
changed. Before my marriage, I'd make
any sacrifice for my career. It came
first. Now personal integrity and my
home and family come first with me,
then my career. So I won't take on
anything that would result in long
separations from the people who mean
most to me. After The $64,000 Question,
I played in 'Two for the Seesaw' in the
theater. We took the show to seventy -
nine cities in twenty-two weeks. It was
a great part. So what! I was as lonely
as all get-out.

"I'd never do that again. I'm forty-

Monitor's Sunday March

one now, and I have a philosophy of
life. It is this: Everyone comes into
the world naked, and goes out in a dark
suit. Everything you pile up, in be-
tween, is just temporary — so you bet-
ter realize that the only things impor-
tant are intangible, and enjoy each day
as much as you can."

The $64,000 Question brought Hal
both fame and fortune. He was known
to millions. Each week, the country
stopped functioning and watched Hal
March work with the contestants. It
was a heady experience, but he knew
it couldn't last. "There were too many
quiz shows and they began giving away
more and more. It got so they offered
the state of Wyoming and two human
beings to start a new race!"

After the show went off the air, Hal
disappeared from public view. , He
didn't work for a year. "I couldn't even
get arrested," he laughs — and adds,
"I never worry. Come good or bad
fortune, I know it won't last. Marcus
Aurelius said it: The only thing con-
stant is change. If you're sick today,
you'll be well tomorrow. If you're poor
today, you'll be rich tomorrow. And
vice versa. So, if you're wise, you take
what comes today and make the most of
it. I'm not morbid — I expect to be
around for a long time, but I live each
day as if it were my last.

"I like my career. I love my wife and
kids. Today, I'm a fulfilled guy, in all
departments of my life. But it took me
a long time to get where I am, and life
is full of other things more important
than a career. There are human rela-
tionships, color, beauty, good times,
love — to name a few. Why sacrifice
them for success? I don't take myself
seriously. I know I'm just a small cog
in the big wheel. I've 'made it' as an

March's big-time cast in Broadway's "Come Blow Your Horn":
From left — Warren Berlinger (once of TV's The Secret Storm),
Sarah Marshall, Hal himself, Audrey Christie, and Lou Jacobi.

actor, but I know that thousands don't
— and I know the price I've paid."

In the early days, Hal did his share of
starving. He lived on frankfurters and
orange dx-inks, and sometimes not even
that. Many's the day all he had to keep
him going was popcorn and water.

Hal comes by his acting talent
naturally. Born Harold Mendelson on
April 22, 1920, in San Francisco, he
grew up in a tough part of town and
fought many a youthful battle. It was
natural that, in his teens, he should
turn to boxing as a welterweight. He
won twenty-four out of twenty-five
fights, and had sixteen knockouts.

Hal's father, Leon Mendelson, owned
a grocery and delicatessen, where Hal,
his brother and sisters "helped out"
after school. Every race and nationality
came there to buy. Hal used to mimic
them at home, and soon he had per-
fected thirty-one dialects. He first felt
the thrill of public applause at twelve,
when he took part in the junior high
school play. From that time on, he
dreamed of being an actor.

When his father died, Hal was all
of seventeen and completely on his
own. He set out to fulfill his dreams.
With two hundred dollars, he went to
Hollywood, took a room and left his
name at all the film studios. No one was
impressed. In desperation, he wrote an
act for himself and played it in saloons.
A year later, he was doing a stint in
burlesque. He played club dates and
vaudeville — then served his time in the
Coast Artillery during World War II.

After the war, Hal went back to San
Francisco and landed an early morn-
ing radio show. Here he met announcer
Bob Sweeney, and together they wrote
material for their own spot on The
Hoagy Carmichael Show. There fol-
lowed work with Bob Hope, Jack
Benny, Burns and Allen, Perry Como,
and Red Skelton. Then he and Sweeney
got their own show for eighty-nine
weeks.

"I played radio soap operas, too,"
Hal recalls. "One day, the girl I was
playing opposite fainted dead away and
I played the scene alone, by saying,
'You won't talk to me — but I know
what you're thinking.' In this way, I
got over both my lines and hers until
we were off the air and I could revive
her!"

After radio, came motion pictures.
"In movies," Hal says, "I miss the dis-
cipline of starting at the beginning and
moving steadily toward the end, the
way you do on the stage, television and
radio. My first starrer was 'Hear Me
Good,' and it's possible that I might do
my original role in the picture version
of 'Come Blow Your Horn.' I don't
know yet. But if I do, I'd commute to
Hollywood and come home every

weekend. I won't be away from my
family or uproot them."

When TV came in, Hal March took
to it easily. First he starred with such
comediennes as Lucille Ball, Joan Davis
and Imogene Coca. Then there was his
own show, which he wrote with Tom
D'Andrea, The Soldiers. After that came
the offer to do The $64,000 Question.
Hal resisted for three weeks — he wanted
to go on being an actor, not an emcee.
But he finally gave in. "I got to like
giving away other people's money, and
I liked the contestants I met on the
show. I was as excited and hopeful as
they were. I used to sweat with them.
But I don't miss the show now."

Six years ago, he met Candy Toxton
Torme, who was divorced from Mel
Torme. Hal didn't think he was the
marrying kind, but he loved Candy and
her two small children. So he married
her. "I've played a lot of bachelors in
my career," he grins, "and I'm playing
a bachelor again on the stage right now,
but I wouldn't trade married life for
bachelorhood."

Candy was an actress who had made
movies as Susan Perry (her last, co-
starring with Humphrey Bogart in
"Knock on Any Door"). But, today,
she wants no career other than that of
Hal March's wife. "Acting is exciting,"
she agrees, "but you pay for it. I've
had three of my babies alone. Acting
is a dream business. The "big break'
is always happening 'tomorrow.' Men
past sixty talk of being 'another Walter
Brennan.' "

Counting Candy's two, the Marches
have four-and-a-half children, as of
this writing: Steven Michael, 8; Melis-
sa, 6; Peter Lindsay, 4; Jeffrey, not
yet two — and they're all hoping the
new baby will be a girl as a companion
to "Missy."

Hal and Candy are raising the kids
with a wise mixture of authority, dis-
cipline, confidence and love. Says Hal,
"I happen to believe that, the more
selfless love you give your wife and
children, the more you get back. That's
the way it works at our house. The kids
are devoted to one another. You have
few enough friends in this world— the
place to make them is at home.

"I love the din around our dinner
table. The other night, both Steve and
Missy were out visiting, and the house
seemed like a tomb — and this is from a
man who didn't marry till he was
thirty-six! Steve has complete confi-
dence in me and will tell me anything,"
Hal adds. "We are completely honest
with the kids. I have long talks with
them and spend as much time with
them as I can." Hal is Jewish and the
kids will be raised in his faith.

The little Marches were all excited
over the recent visit from Hal's mother.
The boys were miffed when told that
Grandma would sleep in the twin bed
in Missy's room. "Haven't we a boy
grandma who can sleep with us?" Peter
asked.

1 he March family live in a big sev-
enteen-room house in Scarsdale, New
York. It has a slate roof, 200-year-old
apple trees, an acre of ground for the
kids to play in. They looked at hun-
dreds of houses before settling on this
one, then had to wait a year to get it.
"The neighborhood school has the
highest scholastic record in the coun-
try," Hal beams. "That's important
when you have kids."

On a typical day, the children come
into the master bedroom, to sit on Hal's
head, at seven or eight in the morning.
After he's roughhoused with them, he
goes back to sleep till ten. He and
Candy rise then and have breakfast,
after which Hal takes care of his mail
and phone calls. Twice a week, he goes
out to play thirty-six holes of golf. He
comes back at four or five, either plays
baseball with Steve or naps till dinner
time. He gets to the theater by eight.
At eleven — if friends don't hold him up,
by visiting backstage — he's soon on his
way home. Candy will be waiting for
him and, together, they raid the ice
box. Then Hal gets into bed with a new
biography or novel and reads till two
and sometimes even four.

The only things he does to keep fit
are to take a nap between performances
on matinee days, walk seven or eight
miles on the golf course, and watch
his weight. He weighs the same 160
today that he did when he was a teen-

age boxer back in San Francisco.
He and Candy want their brood to be
nice and normal. Hal says, "If they
show talent for the arts, well and good.
Candy paints beautifully, and I used to
write. I've had an idea for a psycho-
logical novel for three years, but I
can't afford the isolation to get it on
paper."

He recognizes that Steve shows mu-
sical proclivities and will soon start
him on the piano. Recently, he brought
Steve to a Monitor show and the boy
sounded a note on the piano that re-
sounded throughout the nation. Missy
is all-girl and loves to fuss around the
kitchen with her mother. Pete is an
athlete, and Jeffrey is the roughneck
of the family — he can hardly walk, but
loves to wrestle and has an affinity for
mud.

One of the things Hal has taught
Steven was how to box. "I've always
thought there's a parallel between box-
ing and life," he remarks. "We're all
afraid of pain. Yet, in a fight, you don't
even feel it till the fight's over. In life,
if you learn to feel the elation of hit-
ting back, you're not thrown by dis-
appointments or the blows you have to
take."

Yes, Hal March has become a phi-
losopher and family man. He means it
when he says his career is secondary
with him. Yet that career has never
been brighter. Right now, there's talk
of his going into a musical next. He
might play Nicky Arnstein to Mary
Martin's Fanny Brice in "My Man."

"I like to sing," he admits. "But if I
were to go back to singing, I'd have
to work out with a coach again." Hal s
not above studying. After years as an
actor, he studied at Paul Mann's Actor's
Workshop before going into the stage
play, "Two for the Seesaw." It was in-
congruous to him, to work with begin-
ners, but that didn't stop him from giv-
ing it all he had. And it paid off.

Whatever comes next — singing, a
motion picture or another TV show —
Hal will be ready for it. Meanwhile,
there is Monitor. "I'm the luckiest man
alive," he says. "I have my work and
I have the things that count most: Love
and contentment."

(Continued from page 34)
line. Paar appeared so flabbergasted by
this unvarnished cry of an elderly lady
in quest of companionship that he
forthwith made her his No. 1 rhapso-
dist.

Miss Miller recalls her maiden ap-
pearance on the air in the frontier days
of radio as an unsuccessful contestant
on a network quiz show under the aegis
of a pipe tobacco maker. She failed to
answer the quizmaster's question: "Can

Queen of the Studio Fans

you tell me the names of the three hus-
bands of Scarlett O'Hara?" She re-
ceived, however, a consolation prize — a
package of roughcut tobacco. The now
prestigious Miss Miller says sourly,
"It was a cheap prize, anyway."

But fortune was not long in smiling
on the former Government worker. Miss
Miller appeared on Grand Slam, Hit
The Jackpot and numerous other radio
quiz shows. Her span of knowledge
soon netted her endless prizes, includ-

ing a washing machine, automatic dryer,
and transistor radio. "It would take me
from here until next Christmas to tell
you how many prizes I've won," she
avers modestly.

Miss Miller believes there was more
bluffing on the radio quiz shows of yes-
teryear than on TV today. "It was a
real rat race to get on the shows in the
old days," she recalls with some irrita- R
tion. "I was on the air with Sadie Hertz,
but she was never in my category. She

was married; I was single. Today, Sadie
couldn't get away with the kind of an-
swers she gave in those days. Sadie
couldn't possibly make the grade today,
no siree!" -

Sadie Hertz, who came from Brook-
lyn, was regarded as America's fore-
most quiz contestant in the days when
egghead qualities were not regarded as
basic in audience-participation pro-
grams. Sadie, known as the poor man's
John Kieran, always had some sort of
an answer. Often, her incorrect replies
were enough to send the audience into
hysterics. On one occasion, she was
asked to define the word "chicanery."
Without a moment's hesitation, she
blurted out, "It is something you put in
your coffee to make it taste different."

Sadie had the ability to keep talking
even when she did not know the an-
swer. This she demonstrated in vivid
fashion, one night, when asked: "In
what year was the Emancipation Proc-
lamation signed?" The studio audience,
hanging on her every syllable, heard
this strange and rapid assortment of
words: "Well, it is in the line of his-
tory. Am I right? You have to go back
into history for that . . . let's say around
1700 and . . . no, that was after the
war. They had shooting . . . Barbara
Frietchie is in there, if I'm not mis-
taken . . ." By this time, the audience
was practically thundering the answer
at Miss Hertz, in spite of the emcee's
admonitions: "No prompting, please!"

Another memorable moment in
Sadie's career came on a radio quiz
show, when she answered a question
about stalagmites. Feeling her way in
Braille, Sadie said: "A stalagmite is a
guy what believes in Stalin." Of course,
this floored the audience and won her
another prize.

Once an emcee asked her: "What's a
Capulet?" Nothing fazed Sadie when
she faced a mike — not even a Shake-
spearean character — and she unhesitat-
ingly replied in her "cherce" Brooklyn
accent: "Someone with a small cap
size."

When the quizmaster asked her what
outstanding events happened in this
country between 1860 and 1870, she
sang out in no uncertain terms: "Ter-
rible things. They had a centennial.
Things was terrible. McKinley, Bu-
chanan and Lincoln all was killed. It
was a terrible centennial!" The spec-
tators laughed so hard, they almost fell
through the exit doors.

When the real big-money quiz shows
hit the television lanes, it was quickly
evident that the Sadie Hertzes and the
Miss Millers would have to make way
for meatier mental marvels. Quizmas-
ters henceforth would be forced to pass
J over comedy-relief personalities.
„ Miss Miller has since appeared on a
number of TV quiz shows but, in the

main, has been singled out as a "dis-
co

tinguished" member of the studio
audience. When she resided in Phila-
delphia, before moving permanently to
New York, she was a regular com-
muter to Steve Allen's week-end pro-
gram. After migrating to Gotham, she
became a "regular" in the audience of
Allen's Tonight show. Allen frequently
called on her to say a word or two.

But true fame come to her only when
the Paar show replaced Allen's on
NBC-TV. Miss Miller recalls she
wasn't feeling too well at the time. It
seems her spirits sagged lower than a
last year's debutante. "I came to the
Paar show when I was feeling sick,"
Miss Miller remembers. "I didn't think
I would be able to go on living. Paar
was physical therapy for me. It was
some place to go and he made a big
thing out of me."

A day in the life of Miss Miller reads
like a legman on a beat for a television
trade publication. She traipses from
one program to another, always chart-
ing her comings and goings with the
precision and painstaking detail of a
Sir Edmund Hillary planning his next
assault on Mt. Everest. She arises at
7 a.m. and watches Today while dress-
ing. After breakfast, she is ready to
embark on her journey through video-
land catching such morning and early-
afternoon programs as Say When, Play
Your Hunch, Concentration, Camou-
flage, and Number Please.

In the past, she has managed to ap-
pear on some of these programs as a
contestant but, more recently, the pro-
duction officials have passed her by.
"Now they are afraid to put me on the
air," she says with a trace of resent-
ment and a pinch of pride. "I think they
are afraid of me because I am too well
known."

She is also a frequent — but certainly
not constant — patron of The Garry
Moore Show, Ted Mack's Original
Amateur Hour and the Perry Como
show. When she became Paar's No. 1
fan, her presence at the Ed Sullivan
variety show tended to pose a ticklish
diplomatic problem for CBS personnel,
she believes. No longer did she receive
preferred treatment at the Sullivan
goings-on. "They put me in the back,"
she laments. "It must have been be-
cause of my love for Paar."

When Miss Miller was on the West
Coast, she realized one of her fond-
est dreams — namely, to dance with
Lawrence Welk. "It was the biggest
thrill of my life to dance with Law-
rence," she said softly, her eyes deep
in moisture. "I like Lawrence Welk.
You know, I danced with him for thirty
seconds."

Asked to describe this heavenly ex-
perience with the champagne-music
maestro, she recalls that, when Welk
put his arms around her, she looked
up into his eyes and whispered, "I've
waited thirty years for this moment."

Miss Miller continues: "And do you
know what he said? He looked at me
and said, 'I've waited a lifetime to dance
with you.'" She pauses to let these
haunting syllables sink in.

Miss Miller has a fine faculty for
free association and can produce a deep
stream of sundry topics. A conversation
with her may go from an upbeat refer-
ence to Jack Armstrong, the All-
American boy, to a downbeat reference
to Lillian Lillian, a one-time rival of
hers for Paar's affection.

Miss Lillian had once sought to over-
throw Miss Miller as Paar's prime
booster. Miss Lillian ultimately became
angry with Paar because he had failed
to mention her name on his program.
This so piqued her that she is reported
to have cried out, "He's jealous because
he knows I'm going to follow Steve
Allen to Hollywood. And so now I'm
personal au gratin with him!"

As a staunch Republican, Miss Miller
saw no impropriety in the appearance
of John F. Kennedy on the Paar show
before he was chosen Chief Executive
of the United States. 'T met Mr. Ken-
nedy on the Paar program," she said,
"and after Mr. Kennedy was elected to
the highest office in the land, I went to
Washington for the inaugural and the
gala, but the snowstorm prevented me
from getting to these special functions.

"I did watch the parade. You know,
I'm a Republican but I voted for Mr.
Kennedy and do you know that, the
day before the inaugural, I tried to go
on a White House tour? I was too late,
but do you know that the guards at the
White House recognized me from my
appearances on the Paar program?
They said, 'Miss Miller, we sure know
you, but we're sorry you are too late
for today's tour of the White House.'
And when I went to the Coast, Steve
Allen invited me to visit him and I
accepted his invitation. I made a lot
of shows, while I was on the Coast."

There is, however, nothing ambigu-
ous or fuzzy in Miss Miller's adoration
of Paar. Her super-duper affection for
the comedian has frequently led her
into sharp encounters with non-pro-
fessional critics. At the drop of the
slightest Paar disparagement from an
anti-Paar advocate, she is ready to
leap into a coat of armor to defend both
the showmanship and highly ethical
standards set by the performer. In her
opinion, Paar is an amalgam of Sir
Galahad, Aristotle and St. Francis of
Assisi.

On one occasion, a meddling busy-
body complained that Miss Miller was
getting highly preferred (V.I.P.I. —
Very Important Personage Indeed)
treatment by all concerned with Paar's
show — from the NBC vice-president in
charge of participating spots to Danny,
the No. 4 elevator boy. The question
was raised: How come Miss Miller

manages to get tickets and an aisle seat
for every Paar performance? Paar, it is
reported, gave the complainant a grim-
faced look, and said: "Miss Miller has
her ticket engraved on her heart!"

The ushers at the Paar show have
instructions, however, to put her in an
aisle seat ten rows back from Row A.
When asked why this restriction on her
position in the auditorium, she gurgled,
"I guess the ushers are afraid that Jack
would be running up to me and hug-
ging me. I guess they figure, if I was too
down-front, he'd take more notice of
me."

The most exquisite moment in Miss
Miller's career, to hear her tell it, oc-
curred when she was invited by Paar
to appear on his birthday program. "I
was joined by the audience in singing
a happy birthday to him," she says,
with the air of a surgeon completing a
lobotomy. Asked if officials of the
American Federation of Television
and Radio Artists were concerned
about her status as a union member,
she replied, "The union saw to it that I
was paid $320, the same fee that Bob
Hope and Jack Benny get when they
appear on his program." She said she
paid AFTRA $65 to join the union and
that she still owes them $108 in unpaid
dues. "As far as I'm concerned, I'm an
amateur," she said judiciously.

What impresses observers of Miss
Miller's daily activities in Radio-TV
Row is the apparent ease with which
she has slipped into her role as a "per-
sonality." She is frequently busy auto-
graphing Korvette shopping bags, steno
note books, the inside covers of match
boxes, and paper napkins.

Her colloquies with Paar on the air
are seldom cluttered with priceless
conversational gems, but once in a while
she does manage a roguish crack. One
evening, Paar brought his portable
mike to her seat and purred: "Miss Mil-
ler, what do you tell people about me
when they ask what's Paar really like?"
He paused for her answer. She cleared
her throat and said slyly, "Your guess
is as good as mine."

Several days later, Paar put his port-
able mike under her nose and sought
her phone number. She hesitated for a
moment and Paar said, "Miss Miller,
don't you know your own phone num-
ber?" She retorted, "I don't call my-
self." She was also in fine fettle on an-
other occasion, when Paar observed
that she was carrying binoculars. "What
are those for?" he queried. "To bring
you closer to me," she cooed.

If broadcasting has any society, it is
the legion who constantly course
through the deltas of NBC, CBS and
ABC. At the head of this consecrated
army of admirers is Miss Miller, trium-
phant standard-bearer of the studio
troops, whose battle cry, from network
to network, is: "It's fun to stand in
line." She is, indeed, their queen.

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(Continued from page 36)
to chuck it several times," says Rizzuto,
of his early broadcasting career. "But I
was never a quitter in baseball, and I
decided to stay with broadcasting as
long as they'd let me get to the micro-
phone.

"The first game I broadcast with Mel
and Red was murder. I was far more
nervous than during my first game as a
Yankee player. In fact, I never relaxed
during that entire first season as an
announcer. I'd try to anticipate what
was coming next and I'd get all fouled
up.

"Mel and Red were great to me. Real
great. They both told me to just follow
the game and to report what I saw on
the field. When you do that, it's easy.

"It was a funny thing. Mel was afraid
if he helped me too much, I'd pattern
his style. The same with Red. They told
me that, to become a success, I should
develop a style of my own. And I guess
that's what happened, thanks to them
and to the patience of the sponsors and
the listeners."

Phil joined the Yankees as a player in
1941 and went on to participate in a
record number of fifty-two games dur-
ing nine World Series. Among scores
of honors, his most cherished is the
American League's "Most Valuable
Player Award" in 1950, when he
achieved a .324 batting average. His
greatest fame was as a fielder, but he
was also recognized as the best bunter
of his era. He was the first shortstop in
baseball history to command $50,000 a
season.

Phil's playing days came to an end in
September of 1956.

"It was an Old Timers' Day at Yan-
kee Stadium," he recalls. "I'll never
forget it. Old Timers' Day is an annual
event at the Stadium, and I'd always
looked forward to it. Many of the for-
mer stars come back for a reunion. I
knew that, eventually, I'd be an old-
timer — but I didn't know it would be on
that day. That's when I got my walking
papers."

The baseball world was shocked
when it read the headlines: "Rizzuto
Released." But job offers were not long
in coming. "I had a chance to manage
the Washington Senators," Phil re-
veals, "and Frank Lane, who at that
time was general manager of the St.
Louis Cardinals, wanted me to finish
the season with the Cards and stay with
them the following year as either a
player or coach.

"I wanted to stay in baseball in some

capacity, but I thought I would prefer

doing it as an announcer, if I could

make the grade. Although I'd never had

any broadcasting experience, when I

R was a player I used to look up in the

stands and see Mel Allen at work. I

used to say to myself, That's what I'd
68

Scooter Calls the Plays

like to do someday."

During the waning days of the 1956
season, Phil auditioned to broadcast the
games of the Baltimore Orioles, New
York Giants, and the Yankees. All three
offered him jobs, and he decided to
accept the one providing the least pay —
with the Yankees.

"The Baltimore sponsors offered me
twice as much money," he says, "but it
was a twelve-month contract. The same
with the Giants. Their salary was big-
ger, too — but again, it was a year-round
deal. During the off-season, I'd have
been on call for banquets, special pro-
motions and that sort of thing.

"However, with the Yankees, the job
ended when the season ended. That ap-
pealed to me. Remember, during my
playing career I was away from home
for long periods of the year. I liked the
idea of being able to spend more time
with my family. And, of course, I also
liked the idea of staying with the Yan-
kees."

Phil's often asked why he turned
down an opportunity to become a major
league manager — a goal many players
want, but few achieve. "I'll admit it
was mighty tempting," he explains.
"However, after giving it careful con-

In the air: Rizzuto — showing typical
double-play speed which helped make
this Yankee shortstop a "Most Valu-
able Player." In the dust: Al Rosen
of the Cleveland Indians — forced out
at second. Date: September 13, 1953.

sideration, I thought I'd be able to last
a lot longer as an announcer. A job as a
baseball manager doesn't offer much
security, you know."

Rizzuto began his It's Sports Time
commentary on CBS Radio four years
ago and, since then, working in collabo-
ration with his writer, Dave Camerer,
has come up with many a news beat
and provocative sports editorial. Cam-
erer, a former All-Eastern football
tackle at Dartmouth under coach Red
Blaik, has been with Phil since the start
of the program. He is the author of sev-
eral books, including the best-selling
biography of Roy Campanella, "It's
Good to Be Alive."

"Dave and I make a good team," says
Phil. "We talk every day, discussing
the show's subject matter, then Dave
writes the script and I check it out be-
fore going on the air. I do the programs
live. When I'm on the road with the
Yankees, I do the program from the
CBS station in whichever city I'm in."

Rizzuto has discovered that there are
also hazards in the radio-television
business. "During the spring of 1960,"
he recalls, "Dave prepared a script
about Mickey Mantle, who was holding
out at the time, asking for more money
before he signed his contract. Parts of
it were a little rough, especially one
reference to Mickey being a prima
donna.

"Before going on the air, I cut out the
parts I didn't think were proper. In
fact, what I had to say actually became
a tribute to Mickey. Immediately after
the program, I got in my car and started
driving to Florida to cover the spring
training camps. The trip took me three
days. And, all the while, I was looking
forward to seeing my old pals on the
Yankees again.

"What I didn't know was that CBS
had seen the original script, believed it
to be newsworthy because of its con-
troversial nature, and released it to the
press. Newspapers from coast to coast
carried stories that Rizzuto had put the
blast on Mantle. Well, when I walked
into the Yankee dressing room in Flor-
ida, I might just as well have walked
into a refrigerator. My reception was
that cold. My friends wouldn't speak to
me. Everyone was mad, with one ex-
ception— Mickey Mantle.

"When I learned what had happened,
I explained that I'd changed the script,
that I hadn't criticized Mickey. That
lessened the tension, but things were
still cool between me and a few of the
players for quite a while. Later I asked
Mickey why he hadn't been sore. He
said, 'Phil, you're a friend of mine. I
knew you couldn't have said what I
read in the paper.'

"On the other hand, I guess it's im-
possible to prevent people from misin-
terpreting what you say on the air.

When we were in Los Angeles earlier
this year, I was talking about Leon
Wagner, the Angels' player who had
really been teeing off against the Yan-
kee pitchers. When Wagner hit a double
down the left field line, I said some-
thing like, 'There goes Wagner again—
he's a hitting fool.' Hundreds of fans
took it the wrong way! We had phone
calls and letters saying, 'You never call
Mantle a fool,' and that sort of thing.

"And then, of course, when I report
on the air about a player making an
error, if his wife is listening in, she
thinks I'm picking on her husband. The
next day at the park, the player will
come up to me and complain about it.
I try to explain that I'm only doing my
job. calling the plays as they happen,
but somehow the players never want
you to mention that they are capable
of making an error once in a while."

During the non-baseball months, Phil
keeps busy with his CBS Radio show,
and operating a forty -lane bowling alley
in Clifton, New Jersey, which he owns
in partnership with the Yankees' Yogi
Berra — and ''enjoying my family." Riz-
zuto and his wife, Cora, live at Hillside,
New Jersey, with their three girls —
Patti, 17; Cindy, 14; and Penny, 11 — and
one boy, Phil Jr., 5, otherwise known
as "Little Scooter."

"My daughters aren't as enthusiastic
about baseball as you might expect,"
says Rizzuto. "After all, they've had it
crammed down their throats ever since
they were born. And, being girls, they
have other interests. But Scooter, he
loves the game. Yes, sir, he's going to
be a ball player."

Phil, now 43, keeps in shape by play-
ing golf. "I play practically every day
when we're on the road," he says, "and
as much as possible when we're home.
It's a great competitive game. When I
really concentrate, I'm able to shoot in
the high 70s and low 80s."

Listening to Phil Rizzuto, you hear a
happy man. "Why shouldn't I be hap-
py?" he asks. "I have a wonderful fam-
ily, I'm working with a couple of great
guys, Mel Allen and Red Barber, and
I'm still in baseball.

"What's more, I'm still able to meet
some of the most interesting people in
the world — the sports and entertain-
ment crowd. During a recent game at
Los Angeles, Mickey Rooney sat right
behind the broadcasting booth. What a
show he put on! We picked him up on
camera several times during the game.

"Mickey knows his baseball, I'll tell
you that. If he should ever retire as an
entertainer, he could become a base-
ball announcer. That kind of competi-
tion, I don't need!"

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(Continued from page 23)
spending adventurer who flies his own
plane on trouble-shooting and laugh-
making assignments.

Another TV favorite, Robert Young,
who called a halt to Father Knows Best
after years of success, evidently found
the leisurely life not up his alley. Re-
sult: Window On Main Street, a new
half-hour series in which he plays a
popular writer returned to his home-
town to gather material for his novels.

Car 54, Where Are You? is a half-
hour fun-fest dreamed up by Nat
Hiken, who v/as responsible for The
Phil Silvers Show a few years back.

The name and fame of Shirley Booth
are known to movie- and theater-goers
everywhere, and just as familiar to
readers of The Saturday Evening Post
is Hazel, a going-on-twenty-year-old
cartoon character in that magazine.
She'd shied away from a regular series
before, but, when distinguished actress
Booth met insolent-but-lovable maid
Hazel, wham! a new half -hour series.

Picture Gertrude Berg as a college
freshman, if you can, without laughing.
Enroll her in an English class presided
over by Sir Cedric Hardwicke — and
you have Mrs. G. Goes To College.

Playing it strictly for laughs, too,
will be Peggy Cass, a frequent guest on
The Jack Paar Show, in the role of a
"mother" to the Marquis Chimps. The
show's title: The Hathaways.

TV viewers already know Joey Bish-
op, the sober-faced comic who's pro-
vided laughs on all the big variety
shows, but this season he's going the
situation-comedy route — in the role of
a public-relations man who gets into all
kinds of trouble both on the job and at
home.

With the major movie companies
turning out television films like crazy,
it's only natural that pictures of a few
years back are being dusted off and
adapted for TV series. Father Of The
Bride — which starred Elizabeth Taylor
and Spencer Tracy on the big screen —
has Myrna Fahey, Burt Metcalfe, Leon
Ames, Ruth Warrick. Margie, a Jeanne
Crain starrer in movies, will have Cyn-
thia Pepper and Penney Parker, an
alumna of The Danny Thomas Show,
as a couple of cute teenagers of the
Jazz Age.

For more laughs . . . Robert Sterling,
in Ichabod And Me, in which he por-
trays a high-powered New York news-
paperman who buys a small New Eng-
land paper. . . . Dick Van Dyke, of
radio's Flair and Broadway's "Bye Bye
Birdie," in the role of a TV comedy
writer, with comic Morey Amsterdam
helping out with the jokes. The series,
originally titled Double Trouble, is pro-
duced and written by Carl Reiner, once

a regular on The Sid Caesar Show.

And, of course, the new comic smash
who rose to fame via his first record,
"The Button-Down Mind of Bob New-
hart." Turning his back on night clubs,
where he's been making a fortune,
Bob's signed for The Bob Newhart
Show, a series which will have a sort of
Allen's Alley (Fred, that is) format.

Top Cat, a brash big-city type with
voice by Arnold Stang, heads a gang of
felines in and out of cartooned adven-
tures. And if their voices sound familiar,
they're courtesy of such well-known
actors as Maurice Gosfield, Allen
Jenkins, Marvin Kaplan, Leo De-
Lyon, and John Stephenson. Even bet-
ter known will be the voices of Calvin,
a bear, and the Colonel, a fox, in an-
other cartoon series, Calvin And The
Colonel. They're straight out of the
mouths of Freeman Gosden and Charles
Correll, the Amos 'n' Andy of radio.

The Alvin Show, with music by the
now-world-famous trio of "The Chip-
munk Song," is the brainchild of Ross
Bagdasarian (David Seville), who
wrote and recorded the novelty hit and
its successors. And, from the creators
of Rocky And His Friends, is coming
The Bullwinkle Show, complete with a
fractured fairy tale in each installment.

Maybe the supply of Indians, or
horses, ran out. At any rate, only one
new Western is scheduled for the fall —
Frontier Circus, with John Derek, Chill
Wills and Richard Jaeckel.

There'll be no shortage of excitement,
however, for those who like their ad-
venture via the easy-chair route.

The influence of The Untouchables
will be seen in two new series, Cain's
Hundred and The New Breed. Former,
with Mark Richman, who recently
starred in Broadway's "The Zoo Story,"
deals with a federal agent's efforts to
bring underworld big shots to justice.
The latter, which stars Leslie Nielsen,
portrays the activities of a select squad
of Los Angeles police.

Big-city criminals will be tracked
down, too, by Robert Lansing in 87th
Precinct, in which Gena Rowlands has
the toughest role of the year. She plays
Lansing's deaf-and-dumb wife. . . .
James Franciscus (late of Naked City)
and James Philbrook (of The Islanders)
team up as private-eyes in The Investi-
gators, with Mary Murphy as their eye-
catching office girl. ... A father- and-
son team of legal eagles, E. G. Marshall
and Robert Reed, will protect the inno-
cent and point out the guilty in The
Defenders. . . . Even the press is getting
into the cops-and-robbers act. The Cor-
rupters, with Stephen McNally as a
crusading newspaperman, is based on
the confidential files of Lester Velie,
a roving editor-reporter-investigator.

For those who like their adventure

with an exotic flavor, there is Follow
The Sun, in which two young, hand-
some— and single — freelance writers
based in Hawaii scour the romantic
islands of the Pacific in search of ma-
terial: Barry Coe and Gary Lockwood.

The only new half-hour adventure
series is Straightaway, an action show
about auto racing with Brian Kelly —
son of a former governor of Michigan —
and John Ashley — handsome 26-year-
old actor from Oklahoma — in the leads.

The medical profession, which has
been left pretty much to itself since
Richard Boone turned in his little black
bag in favor of Paladin's calling card,
is getting a new airing this season via
two new series, Ben Casey and Dr. Kil-
dare. The former — dreamed up by
Medic's creator — stars 29-year-old
Vince Edwards, out of Brooklyn, Ohio
State and the University of Hawaii, and
character actor Sam Jaffe as his
teacher, friend and adviser.

Dr. Kildare, of course, is adapted
from the movie series, with newcomer
Richard Chamberlain — who's been act-
ing professionally for only a year — in
the title role, and veteran Raymond
Massey as Dr. Gillespie. Also from
movie libraries comes Bus Stop, with
a cast of regulars including Marilyn
Maxwell, Rhodes Reason and 20-year-
old Joan Freeman.

Dick Powell is shedding the fancy
Western duds he wore as host of The
Zane Grey Theater and going straight
this year as emcee and sometime star
of an hour-long Dick Powell Show
which will include action -adventure,
mystery-suspense, and even some light
comedy.

r or people with color sets, Walt Dis-
ney has dreamed up more projects than
he could use up in two or three seasons.
None of them, he says firmly, is in-
tended only for the kiddie trade. On
his new Walt Disney's Wonderful World
Of Color will be shown everything from
a gigantic forest fire to a new cartoon
character, Ludwig Von Drake, glib-
talking uncle of Donald Duck.

Variety, too, will be the spice of the
Du Pont Show Of The Week, which will
include such specials as the famed
Project 20 productions and new ver-
sions of eight well-known Selznick
movies. . . . Fred Astaire will host
Alcoa Premiere, which promises enter-
tainment of all sorts with top stars,
writers and directors. . . . International
Showtime will give grownups and kid-
dies a chance to see actual perform-
ances of leading international circuses,
ice shows and the like, all taped as they
are presented to audiences in real life.

Add wider news coverage from all
networks, and you have an upcoming
season with something for everybody!

The Man Who Looks Like Everyone

(Contimied from page 40)
As Gene Turtle phrased it, in the Las
Vegas Review-Journal, "Frank Gorshin,
who came in hardly known, left the
stage a new 'Strip' star." And that suc-
cess was soon repeated in New York,
where Frank again worked with Bobby
Darin at the Copacabana — and also did
his deft impressions on The Ed Sullivan
Show.

Twenty-eight-year-old Frank Gor-
shin is presently at the crossroads of a
big career. "I don't know if I want to be
a movie actor or a night-club perform-
er," says Frank, who also sings and
dances and has recorded several up-
tempo numbers, backed by the Johnny
Mann Singers, for a potential album.

Born in Pittsburgh — into a non-
theatrical family of Yugoslav origin —
Frank became interested in dramatics
when he attended Peabody High School
there. Then, after seeing "The Jolson
Story." he developed a singing imita-
tion of the fabulous Al which got him
work at Elks' and Moose club parties.

Naturally, he wanted to attend Car-
negie Tech, which has a renowned
dramatics department. However, Frank
enrolled in an engineering course be-
cause he wanted a secure background
in case he didn't make good as an actor.
His education ended just two years
later, when he was drafted into the
Army.

Sent to Chelveston, England, he took
part in a talent contest there, won the
European All U.S. Air Force Talent
Contest, and was eventually assigned to
Special Services duty — which sent him
all over Europe to entertain in service
clubs and as part of U.S.O. shows.
"About a year before I was discharged,"
he recalls, "a civilian who'd been
watching my act closely, at a U.S.O.
show in Munich, came backstage to see
me. He introduced himself as Maurice
Bergman, a European representative of
Universal -International Pictures."

Bergman told Frank to look up Alec
Alexander, a movie agent in New
York, when he got out of the service.
Staff Sergeant Gorshin acted on the
suggestion even sooner than that. Re-
turned to Fort Hamilton in Brooklyn
for final processing before his release,
Frank looked up Alexander — who got
him a small part in Paramount's "The
Proud and the Profane." Frank man-
aged to get a short leave so he could
join the picture on location in the
Virgin Islands, where he did just one
scene, with Thelma Ritter.

Somewhat discouraged, Frank tem-
porarily shelved his dramatic aspira-
tions after leaving the service, took odd
jobs working for the telephone com-
pany and in the post office. Then, after
several layoffs — during which he found
himself almost four hundred dollars in
debt — he decided to go to California to

see, once and for all, whether he had
any real chance in show business.

Of all the famous personalities Frank
can do "to the life," he most closely
resembles Richard Widmark and James
Cagney in physical appearance. Perhaps
that's why TV casting directors took
one look and cast him as a heavy in
such dramatic series as Wire Service,
Frontier Doctor, General Electric The-
ater, Navy Log and The Silent Service.

Frank also did tough-guy roles in the
movies — and some comic characters,
too — but these were mostly in very
minor "B" films. "I wasn't going very
far," he says of those struggling days,
"but at least I was working steadily. I
got all my debts p?id off."

Then disaster struck. In the summer
of 1958, Frank went back home for a
visit. As he was returning to Los An-
geles, he fell asleep at the wheel — and
went off the highway. His car turned
over and was demolished. Four days
later, Frank himself awakened in a
hospital with a fractured skull. This was
in Stroud, Oklahoma, where he re-
mained for more than a month.

All told, it was seven long months
before Frank could work again. During
this time, he had to cancel out of an
important movie assignment and, event-
ually, he and Alexander terminated
their business relationship by mutual
consent. When he had finally recovered,
Frank became friendly with Len Kap-
lan of the William Schuler Agency, who
signed him and set out to get Frank
bigger roles in better shows.

On TV, Frank made dramatic appear-
ances on Climax! and Alfred Hitchcock
Presents. In movies, he got his biggest
role to date in the 20th Century-Fox
Western, "Warlock" — playing Richard
Widmark's brother. But, during this
new onward-and-upward period, his
abilities as an impressionist were re-
stricted to private parties — until Lenny
Kaplan set up an audition with Steve
Allen. The Gorshin impressions got off
with a bang on Steve's big variety pro-
gram, in March, 1959, and progressed
from a $500 debut tag to $2500 per
guest appearance before the Allen show
went off the air.

Most important of all, the network
program gave Frank the nationwide ex-
posure he needed. He became a familiar
and popular figure in West Coast night
clubs. Director Vincente Minnelli, who
had seen him on the TV show, gave him
the antic role of a Brando-type method
actor in "Bells Are Ringing." A "real
fun part for me," says Frank. A best-
supporting-actor-of-the-year perform-
ance, said critics. Career zooming,
Frank bought himself a Thunderbird
and began to enjoy bachelor life in a
Hollywood apartment.

The chain reaction kept sparking

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along. Producer Joe Pasternak liked
Frank's work in "Bells," cast him as the
bass-player who was utterly lost with-
out his thick -lensed glasses in "Where
the Boys Are," was so pleased with his
performance that he increased Frank's
billing before the picture was released.
Meanwhile, Frank got full movie-star
billing for the first time in a straight
acting role in "Studs Lonigan." And
Universal-International cast him as a
menacing convict in "The Great Im-
postor," inspiring The Film Daily critic
to observe: "If it isn't too early, I
would like to suggest Frank Gorshin for
an Oscar."

Frank hasn't won his first Oscar yet,
but the reviews have been uniformly
good and his film career has been kept
rolling with a fine performance as a
hoodlum in MGM's "Ring of Fire," in
which he co-stars with David Janssen
and Joyce Taylor. It wasn't until after
this movie was completed that co-
producer Andrew Stone first saw Frank
perform in a night club. "If we had
known you did comedy," he said, "we
wouldn't have put you in a drama!"

But there have been no complaints —
particularly from Frank, who has also
done very well on TV this past season,
with guest appearances on both Perry
Como's and Ed Sullivan's shows, as
well as successful performances in night
clubs. It was at the Cloister in Holly-
wood, last August, that Bobby Darin
and his manager saw Frank on the
same bill with Connie Francis. Darin
was so impressed that he came on stage,
did an impromptu routine imititating
Frank which stopped the show — and
subsequently asked if Frank would be
available to work with him at the Fla-
mingo and Copacabana.

Though he'd previously nixed all club
offers in Vegas and New York, because
of his movie commitments, Frank
jumped at the chance. "I don't believe
what I read in the paper," he asserts.
"Bobby's been a wonderful help to me
and I'm very grateful. I think he's a
great talent."

Of his own career, Frank says, "I
want to develop my dancing and con-
tinue doing better acting parts. I don't
want to study acting any further, be-

cause I studied for two years and found
out it's not a craft, like engineering. The
feeling in acting must come from with-
in. You develop acting talent by work-
ing and getting experience."

Frank writes all his own material for
his night-club act, now says he only
wants to play the clubs with a complete
act in which he would be able to display
his singing, dancing and impersonations
as a headliner. "I'm tired of just doing
impressions. I want them to be second-
ary. I've had to be everybody else to
establish myself!"

And now "the man who looks like
everyone" has found the one-and-only
girl just for him. Shortly after closing
at the Copacabana in mid-March, he
hurried home to Pittsburgh to see his
family, and then returned to Hollywood
to prepare for his wedding to Christina
Randazzo.

"Chris is the best critic I have," the
new husband sighs happily. "She's been
behind me all the way." And, this time,
not only the words are Frank Gorshin's
own. So are the expressions and the
heartfelt sentiment!

Bob Barker and the 11 Barking Bassets

(Continued from page 19)
personal appearance with his TV pro-
gram and, after twelve years of mar-
riage, Dorothy Jo was still surprising
him with gifts whenever he had to be
out of town without her.

As Bob tells it, "While she was out
looking for a cat, it occurred to her
maybe she should get a dog instead,
because I'd always talked about having
a dog. So she went to look at a dachs-
hund. Instead of the dachshund, she
fell in love with 'Mr. Baker,' who —
through no fault of his own — happened
to be a basset hound.

"When I came home, I said, 'How are
we going to keep a dog? You're not
supposed to have a dog in an apart-
ment!' We had never lived in a house
since we'd been married, and my wife
didn't know the difference between
keeping a cat and a dog. She found
out, though. We ended up walking Mr.
Baker eight to ten times a day. That
was just too much exercise. Not for
him. For us. So we went out and bought
a house for the basset hound."

It is a lovely, capacious home in the
San Fernando Valley and, thanks to
Mr. Baker, Bob and Dorothy Jo found
themselves delighted to be home-own-
ers. There was, however, one small
problem: Whenever they'd leave the
house, Mr. Baker would cry. So the
Barkers bought another basset hound,
a female. Then, later, they accepted one
of Mr. Baker's sons by a previous mar-
„ riage. After that, things got out of hand,
and they awoke one morning to find

themselves surrounded by more dogs
72

than people. Eleven, to be exact.

While eleven basset hounds, of them-
selves, are not too great a problem, the
Barkers discovered they did have a
problem in family relations. One of Mr.
Baker's sons, "Mr. Hubbard," couldn't
stand his old man.

"Basset hounds are supposed to be
very good-natured and they're not sup-
posed to fight," Bob explains. "Unfor-
tunately, Mr. Hubbard and Mr. Baker
don't know about this. From the time
Mr. Hubbard grew into adolescence,
they hated each other and would start
a fight every time they got together.

"Bassets like to sit around and be
part of the family group, so I finally
created and built a 'basset stop' — a low,
screened affair through which the rest
of the group can smile from the service
porch at Mr. Hubbard, all by himself
in the kitchen.

"Fortunately, I have a workshop so I
can cope with problems like these.
When we first bought the house, I went
out and purchased all kinds of tools.
Some of them don't even have the price
tag off yet, and I never have figured out
how to plug in the electric saw. But I
have fixed a couple of things. Like the
pulley."

A couple of Christmases ago, Dorothy
Jo bought a handsome white Christmas
tree. When the time came, she just
couldn't bear to throw it away after
only one season. Besides, she had read
somewhere that you could conserve a
white tree by hanging it upside down.
Bob was agreeable — "the darned thing

was expensive! So I built a pulley and
hung it upside down in the garage. Of
course, every time I got out of the car
the white stuff dribbled down all over
me and people were beginning to com-
ment about 'Barker's premature gray.'
At the end of the year, we let down the
beloved Christmas tree. My wife took
one look and said, 'It just won't do!'
And went out and bought another one —
also expensive.

"Seriously, though," Bob adds with
a grin, "that workshop is well worth
the money. I've had greater moments of
fulfillment and greater moments of
frustration there than anywhere else in
my whole life. When my wife asks me
to fix something, it's a tremendous sat-
isfaction to be able to go out and do it —
if I can. If I can't, I storm back in the
house in a rage of frustration."

Talking with Bob, you become aware
of frequent references to "my wife" and
the feeling grows that, after sixteen
years of marriage, these two have main-
tained a happy and perfect relationship
which began when they were both
undergraduates at Drury College in
Springfield, Missouri. It continued after
they were married — the day Bob won
his wings as a naval officer — and during
the war years, when Dorothy Jo fol-
lowed him from one post to another.
When the war was over, there were un-
certain times while Bob was establish-
ing his career, and now it has survived
the most crucial test of all: Success.

Until Truth Or Consequences, Doro-
thy Jo helped Bob write his shows, first
in Springfield, then in Palm Beach,

finally in Hollywood, when he had his
own radio show. And there was only
one time she lost her temper with him
and his work.

"As you know," Bob explains sober-
ly, "audiences are like individuals.
They're all different. This one time, I
had a cold audience. They weren't with
me. And I made some snide remark
about it from the stage.

"Dorothy Jo was livid. After the
show, she read me off good. Threatened
never to write another line for me if I
pulled that stunt again! She said it
didn't make any difference what kind
of audience I had, it was my job to get
them on my side — and if I couldn't do it,
I'd better quit!

"Well," he adds, "she was right, and
I have never since insulted my audi-
ence, even indirectly. I'll admit I've had
audiences I didn't like, just as I have
met certain people I didn't like, but I've
never done anything or said anything
for which I was ashamed afterwards."

By taping two shows in one day, at
two o'clock in the afternoon and six-
thirty in the evening, the Truth Or
Consequences company is able to wrap
up ten programs in five days. This
leaves Bob with an enviable amount of
time to call his own. He has taken up
golf, and become pretty fair at it.

Also, aside from the bassets and the
workshop, there are other little chores
around the house. "When we bought it,
there was a gardener taking care of
the yard. Dorothy Jo watched him for
several weeks and saw what he did
around the plants, and then she an-
nounced she had let him go. She said
she was going to take care of the lawn,
and she does. All week long, she keeps
track of what needs doing — and then,
on the weekend, I do it. One of the
writers on the show said that, if our
ratings ever drop, 'Barker can always
go to Japan and be an American gar-
dener.' "

When Bob first became aware that,
with manhood, he was expected to
make a living, his interests turned to
the financial world and he entered
Drury headed for a major in economics.
"I thought I wanted to be in Wall
Street, but I got a job in radio and I
haven't been able to go straight since.
I still read the financial pages and have
a stock investment program set up.

"I bought some First Charter at YlVz"
he recalls. "It went up steadily and,

while it was bouncing around 27, I got
myself a business manager. He was
helping me straighten up my stocks,
and one of the things he advised me to
sell was First Charter. Yesterday, it
closed at 52." Bob grins, "Of course,
that was the exception. He's really very
helpful — he protects me from my agent."

At the moment, Truth Or Conse-
quences gives every sign of going on
forever, which is fine with Bob. He en-
joys doing the show, he enjoys the
leisure it affords him. He has only one
complaint — "I want a nighttime show!
I'd like to do a game show that's all
audience-participation. None of them
are now. The trouble is, somebody's al-
ways wanting to make a big production
number here and dress something up
there. When you do that, you lose the
warm, informal atmosphere we have on
daytime. I don't think the attitude of
the nighttime audience is different; it's
the attitude of the people who do the
shows that is different. I think the easy,
casual approach would do very well
with that nighttime audience as a
change of pace from the violence and
the canned laughter they're getting
now. There are some things in the
works in that direction, but we need a
little help from the viewers who agree
with us."

Bob is a man who exudes confidence.
As he says, "Until I've broken my pick
on it, I can do anything. Someday I'd
like to try a dramatic piece. It would be
nice, too, to see a book on the best-
seller list with my name on it, just as it
would be interesting to pitch for the
Cardinals — that was my boyhood am-
bition.

"Of course, these are things I never
expect to do, but sometimes the con-
templation of them gives you a satis-
faction in knowing there are so many
things you could do if you really
'wanted to.' " Bob doesn't claim this as
any great credo or philosophy, but it
does explain why his audiences are at-
tracted to him. He is interesting be-
cause he is interested.

At the time of this interview, Bob
was enjoying to the fullest his world
of television and basset hounds. There
was but one small cloud on the horizon:
"My mother-in-law is coming for a
visit tomorrow," he said — then added
hastily, "which is fine. She's a wonder-
ful person . . . only, she doesn't like
dogs!"

Next Month: More color in the magazine than ever!

Your favorite personalities in pin-up pictures, plus a new section
A-OKay: The Discs and The Discers in Orbit . . .
with reviews, and six special feature stories on
Harry Belafonte, Mitch Miller, Al Hirt, Dick Gregory,
Brenda Lee, David Seville . . . and many others!
October issue of TV RADIO MIRROR on sale September 5

THE WOMEN

DEATH

COULDN'T

KILL

For the first time anywhere, the
dramatic story of the Women
Resistance Fighters whose epic
heroism made a mockery of Hit-
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And don't miss-
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I Married A Beatnik

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An Ex-Tarzan Rides with Wagon Train

(Continued from page 28)
bitter about the horse, as such. It's
just that he has always had trouble
with mankind's various means of trans-
portation.

It all started when, as a senior in
University High School in Los Angeles,
he made his initial theatrical appear-
ance. As an act in a school comedy
revue, he stormed onstage in red flan-
nel long-johns, pedalling a tricycle and
bouncing a yo-yo. At stage center, the
yo-yo backfired, striking him briskly
on the forehead — and, at that instant,
the tricycle bucked, unseating its crim-
son rider. There wasn't a dry eye in the
house. Scott laughed as heartily as any-
one else . . . which says something for
his sense of humor.

No laughing matter was an auto-
motive mix-up one rainy night on
Highway 101. Scott and his date were
coming home from a party. Driving
slowly through a wind-driven storm,
Scott pulled into the left-turn lane
behind four other cars that were also
preparing to take the Santa Monica
Canyon road. A drunk roared into
Scott's car from the rear, billiarding
it into the next with so much force
that, in seconds, six cars were welded
together.

Scott blacked out, but regained con-
sciousness an instant later, rain pelting
his face. He was still strapped in his
seat — but the seat had been torn free
of its moorings and was lying in the
back of the car, parallel to the pave-
ment. The entire front of the car was
a volcano of flame, hissing and crackling
in the downpour.

Fighting another flood of uncon-
sciousness, Scott gulped in breath. He
realized vaguely that his passenger had
been thrown clear of the car and was
lying at the side of the highway. Un-

buckling his seat belt, he clawed his
way out of the car and stumbled to the
girl. Scott drew her carefully onto a
blanket brought from another of the
smashed cars, and pulled the girl to
safety.

In describing that night, Scott ends
the story with the thoughtful state-
ment, "The girl suffered a whiplash
injury. She had to wear an iron collar
for weeks, but her face was unharmed
except for a little scratch above her
right eye. I'll tell you, I was glad about
that. She's a model and really beauti-
ful."

He dismisses his own cuts, bruises,
abrasions — and the car, burned to a
cinder — with a shrug . . . which tells
something of his innate concern for
others, and his lack of preoccupation
with himself.

Somewhat later in his career, having
completed his two-year Army hitch in
Germany, Scott continued his combat
with the vehicular system. He made
use of his terminal leave by visiting the
island of Majorca for a month. And,
like most tourists — particularly those
in Army fatigues who have been foot-
bound — he rented a motor scooter for
exploration purposes.

The day before he was scheduled to
return to camp, he was buzzing up one
of the island's single-track, snake-back
roads when he caught sight of a bus
coming down, out of control. Scott un-
loaded. He did a one-and-a-half gain-
er with full twist — into a grassy ditch
— while the scooter demolished itself
against a stone wall. The bus poured
past, shrieking with delight and no
brakes.

Adjusting matters with the owner of
the motor scooter (i.e., raising fun:1:; to
pay for it) kept Scott on Majorca three
days beyond his leave. But he was able

Why not write us a letter?

9-61

In this Issue of TV Radio Mirror, there are more stories than in the past.
Many of them are, as before, about favorite stars of TV seen regularly on
weekly shows. Others, as you've noticed, are about new stars, new shows.
Or about what goes on behind the TV scene. Please write us a letter to
let us know what you'd like in future issues:

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Stories on major established performers on TV

Stories on the people you see on TV who are

internationally prominent, but not entertainers

Discovery stories on new talent in TV and in the

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Color TV, international projects, etc.

Reviews of new TV series (one a month)

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Send to: TV Radio Mirror, Box 2150, Grand Central Station, New York 17, N. Y.

to explain his absence to the satisfac-
tion of his superiors . . . which tells
something of his gift of gab.

In addition to the above bouts with
standard means of transportation, Scott
has suffered from certain exotic types
of locomotion. During the shooting of
his "Tarzan" film at MGM, he was re-
quired to leap from the bank of a
Culver City jungle stream onto the
back of a dozing crocodile.

Scott made a perfect two-point land-
ing, but the croc did a teeter-board;
his tail submerged and his snout swung
skyward, unloading Tarzan. The crew
gave Scott a ringing cheer for speed
in leaving the lagoon. Afterward, he
learned that the croc was rubber, but
that it had atrophied from lack of use.

Scott also came to appreciate the
heavy clothing worn by most elephant
riders. Jouncing along on the back of
an elephant is roughly equivalent to
mounting a cactus. Those elephant-
hide hairs, appearing so innocent at a
distance, have a coarse rigidity that
only a razor commercial could love.
Scott says solemnly, "I never believed
in the sleeping comfort of a bed of nails
until I'd ridden an elephant."

How did this ardent admirer of the
art of walking make the long trip to
Hollywood and television? Scott was
born Dennis Linn Miller in Blooming-
ton, Indiana. (The "Dennis" was
changed to "Scott" by his first con-
tracting studio. He says of the altera-
tion, "An actor by any other name
smells the same.")

He was the first of two sons of Dr.
and Mrs. Ben Miller. At the time of
Scott's birth, his father was chairman
of the Department of Physical Educa-
tion at the University of Indiana.
Thereafter, the family lived in Silver
Springs, Maryland, where Dr. Miller
served as executive secretary for a
national youth organization, and on
Long Island, where he was director for
American Youth Hostels. The next
move was to Los Angeles, when Dr.
Miller became chairman of the Physical
Education Board for U.C.L.A.

At fourteen, Scott entered the six-
teen-year-old competitive class for the
National School Boy Golf Tournament
— and won. At seventeen, he spent a
summer serving as life guard and dock
boy for the Freeport Yacht Club. And
that fall— at California's "Uni High"—
he distinguished himself on the basket-
ball court (as well as on the aforemen-
tioned tricycle).

At U.C.L.A., Scott majored in Physi-
cal Education and was initiated into
Phi Gamma Delta social fraternity. To
keep in shape — and to support an
active dating campaign — he took a
series of summer jobs. One was with
Bekins Van & Storage, a company spe-
cializing in big men to handle delicate

bric-a-brac and assorted movables.

One afternoon, Scott's moving squad
was sent to the Sunset Strip to trans-
port the office valuables of agent
Michael Gertz from his old location
to a new building. Just as Gimbel's
studies Macy's, Hollywood agents scru-
tinize one another. What agent Bob
Raison saw — while noting the Gertz
move — was Scott Miller. He gave Scott
his business card and asked him to call
for an appointment as soon as possible.

The moving was interrupted, a few
moments later, by a second agent pass-
ing out his card. When the furniture
reached the Gertz office, three of the
five agents in the organization ap-
proached Scott with the suggestion
that he consider a theatrical career.
The activity of that day convinced
Scott that he should answer Oppor-
tunity's knock ... or take the door
off its hinges, to keep life peaceful.

He made an appointment with Mr.
Raison, and was placed under contract
by Universal-International, a few
weeks later. Contractual terms provid-
ed that Scott was to take drama les-
sons at U-I, but that he was not to be
cast in a film or a TV series until he
had earned his degree at U.C.L.A. (It
didn't work out that way; he still has
a semester to go.)

For six months, he reported once a
week to Leon Charles's drama classes.
Suddenly, MGM ran out of Tarzans
and uttered a yelp for help. Upshot
was that Metro bought Scott's contract
from U-I, and ordered its new con-

tractee to let his hair grow . . . which
will explain the injection of wit into
U.C.L.A.'s rooting at basketball games.

When Scott came onto the floor, con-
spicuously furry in the company of
four crewcut teammates, the rafters
rang with such comments as: "Coach,
give him a hairnet," or "Ape Man, Go
Home."

After "Tarzan," Scott appeared in a
segment of Northwest Passage, then
was paged for the Duke Shannon role
in Wagon Train, a job which will be
interrupted occasionally by a film role.
He will also make records. He has been
studying under Maestro Cepero at
Metro, and has developed an impres-
sive baritone-bass voice.

However, should the film and au-
ditory arts go bust, Scott will still file
his steaks regularly. He wields a
Grumbacher paint brush well enough
to have sold two canvases, after less
than a year of study by mail with the
Famous Artists School of Westport,
Connecticut.

Scott Miller is what is called "a man's
man." He can talk football, basketball,
baseball and aquatic sports with the
experts. He has an amiable, competent,
humorous masculinity that appeals to
members of his own sex. But, for the
female of the species, who have over-
whelmed the NBC-TV mail room with
laudatory messages and requests for
pictures, he has an extra added at-
traction:

He is unmarried, unengaged. So go
ahead — dream!

Jimmy Durante

(Continued jrom page 25)
from the time Jimmy's dad, a two-chair
barbershop owner who lived to be
ninety-three, came to Hollywood to
watch his son make a movie at MGM.
"Pop was a gentle guy, a sweet, friendly
sort," Jimmy recalls, "and this fellow
comes over and says, 'Mr. Durante, what
do you think of Jimmy's acting?' Pop
gives him a look. 'Let's not start a
nargument' he says. Me, I think that's
a good way to be in life. What a nice
happy place this would be, if people
wasn't always startin' up with other
people."

Today, at sixty-eight, and about to
celebrate his eleventh year on tele-
vision, Jimmy seems well on the way to
match his dad's record. He may not be
cutting hair, but he's still cutting up
the usual capers. Not only is his career
blooming with the same old vigor and
freshness, but he has become a bride-
groom, for the second time, after a
sixteen-year courtship. The bride is
Margie Little, a pretty brunette half his
age, who has a delightful sense of
humor.

"We met in 1944," Maggie smiles.

"I was a combination hat-check girl and
switchboard operator at the Copacabana
in New York. Jimmy was starring at
the club and he fell into the habit of
stopping by to tease me, on his way in
and out. Some people might think it
was a long, dragged-out engagement,
but you can take my word for it — almost
every minute was full of fun. It was
also one of the best- chaperoned en-
gagements in history."

A date with Jimmy, explains Margie,
invariably turned into a mob scene.
"Jimmy loves to be surrounded by peo-
ple. He hates to be lonely, and he feels
everybody else feels the same. So,
rather than take a chance on anybody
being lonely, he just invites them along
wherever he goes. I once asked him
why he needed his crowd along on a
date. He looked hurt. 'But they're like
my family,' he said. I never asked such
a question again."

At Christmas of 1950, Jimmy pre-
sented his girl with a ring. Margie took
it for granted they would soon be
ankling down the aisle to the altar. But
it was ten years later, before she took

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the bull by the horns and asked him
bluntly when they were to be married.
"But we only been 'gonna together'
fifteen years," chuckled Jimmy. "We
hardly know each other." Nevertheless,
on December 14, 1960, they finally took
the big step. Margie laughs heartily
when she tells the story, and her imita-
tion of Jimmy is priceless. "He was
worth waiting for," she admits, her eyes
softening. "Jimmy's one of the kindest,
most lovable men in or out of show
business. He never puts on the dog.
He's the same to an errand boy as he is
to the sponsor of a show. He's Jimmy
to everybody, and he introduces me as
'Margie.' I once asked him if it wasn't
a big undignified. Again, he gave me
that hurt look. 'Our name is Jimmy
and Margie, ain't they?' he asked. I
crinch if anyone calls me Mister Dur-
ante.' "

1 hat's Margie's dear, wonderful Jim-
my— and she adds, "I wouldn't want
him to change, for all the tea in China."
Oddly enough, though Jimmy loves
people, he hates big, plush parties. He
is happiest at home, in his Beverly
Hills house, surrounded by friends of
long standing. He has a swimming pool,
but he is almost never in it. He does
enjoy walking along the side of the pool
when he is concentrating on a script.
He is a creature of habit, and among
his favorite habits are smoking a good
cigar and directing a running barrage
of wisecracks at his chuckling parakeet,
"Tinker." Tinker barrages right back.

Jimmy is a sincerely religious man.
While in Rome — doing a three-minute
guest bit for "The Last Judgment," di-
rected by famed Vittorio De Sica —
Jimmy and Margie went into St. Peter's
Church. Suddenly the Pope made an
appearance. Says devout Jimmy, "Him
coming in so unexpected, it was greater
than a private audience would have
been. It was beautiful. I sat down and
cried . . ."

Jimmy had only a few days off, be-
tween his return from Europe and his
opening at Harrah's in Lake Tahoe,
Nevada. It meant rounding up his act
for their first rehearsals in three
months, and making plans and prepara-
tions for his August 9th NBC-TV
special. He was asked how he felt about
having two other comedians — Bob Hope
and Garry Moore — on the show. "Those
guys are so great, I'd settle for bein'
their straight man!" he immediately
shot back.

Preparing the show was all left in
the hands of the producer, Norman
Jewison. "A very talented man," said
Jimmy. "I never interfered, 'cause I
never produce nuttin'. My old partner
Lou Clayton — a shrewd and wonderful
man — used to say, 'Jimmy, you stick to
the jokes, I'll stick to the business!'
When we was Clayton, Jackson and
Durante, Lou was the manager and we
got to be a success because of his brains,
God bless him."

Jimmy has always stuck to this for-
mula, with the "business" end of his

Life partners: Margie Little and Jimmy Durante, who had one of the
longest engagements on record — also, says she, "the best chaperoned!"

career handled by someone else. The
one thing he allows no tampering with,
however, is his "entourage." Although
there are some new faces in the Durante
group, it is a tribute to his loyalty and
gift for friendship that some of the old
faces are very old indeed. Among these,
of course, is Eddie Jackson, of the orig-
inal Clayton, Jackson and Durante
team. The act was formed in 1920 and
— aside from a brief period when Jack-
son went on his own in vaudeville —
the trio were a starring staple of show
business until Clayton's death in 1950.

Then there is drummer Jack Roth,
who dates back to World War I days.
He not only pounds the skins but is
also kept busy catching hats and inter-
cepting parts of the breakaway piano as
it flies across stage in the more hectic
parts of Durante's "mayhem."

Among the oldsters are Sally Davis
and pianist George Finley. Sally, a
heavy-set woman, usually puts in her
appearance at the tail end of the act.
For those few minutes, she gets several
hundred dollars a week. "Well," says
Jimmy, "she's gotta live, ain't she? And
she's worth it, every dollar, for the howl
she brings from the audience."

Once Jimmy steps on stage, his
avowed purpose is to do "anyt'ing and
evvyting" to make that audience laugh.
He sometimes gets so wound up, he
literally tears the clothes from his Num-
ber One foil, Sonny King. Sonny really
gets manhandled during these moments
of fine frenzy. "I just gets carried away
wit' myself," apologizes Jimmy.

Sonny was brought into the act at a
time when Eddie Jackson was ill. He
went on the road with Durante for a
year. Then, when Eddie returned, he
left to do a bit of trouping on his own.
He did very well, playing the circuit of
clubs. After a couple of years, Sonny
rejoined the Durante show, filling in oc-
casionally for the ailing Jackson, but
also taking his place as an "added at-
traction." Jimmy feels the dark-haired,
thirty-nine-year-old King has a "great
future" and considers him an ideal foil
for his own antics. Finally, six years
ago — when Jackson's health began to
limit him to the old standard "Bill
Bailey" number, plus a strutaway —
Sonny became a regular feature of the
show and has gradually assumed more
and more importance to its continuing
success.

It is typical of Jimmy that the bill
still reads "Jimmy Durante with Eddie
Jackson and Sonny King." When intro-
ducing Jackson from the stage, Jimmy
sentimentally makes sure to say, "My
old pal, Eddie Jackson of Clayton,
Jackson and Durante."

King himself has been in show busi-
ness since 'he was fifteen. Like Eddie
Cantor, he began as a singing waiter
in a Brooklyn restaurant near Coney
Island. He was born not far from

Durante's lower East Side home. "In
fact," laughs Sonny, "if there were no
water between Brooklyn and Manhat-
tan, you could walk a straight line from
my house to Jimmy's backyard."

Sonny, like most performers who
have worked with the Schnoz, pays
him the highest compliment: "Working
with him is like going to school and get-
ting paid for it." Occasionally, Sonny
still likes to "go it alone" for a few
weeks at the Slate Brothers Club in
Hollywood or the Sahara Lounge in Las
Vegas. "I get a certain feeling of secu-
rity from standing on my own two feet
for a few weeks a year.

"I think every artist needs this once
in a while," Sonny adds. "It salves the
old ego, if you swing it all right, and
then you're content for the rest of the
year being part of a bigger, less per-
sonal act." King also just completed a
movie role. He plays the part of a mean
half-breed in the Frank Sinatra film,
"Badlands."

Las Vegas (where the Durante group

plays the Desert Inn four times a year)
has a special importance in the life of
Sonny King. It is where he and his
wife Nancy met and married, nine years
ago, and it's where they now make their
home. She was a dancer at the time,
working with Liberace. They have two
little girls — Sharon, eight, and Toni,
four. Like Margie Durante, Nancy fol-
lows the show when it is playing dates
in places such as Miami, New York or
Lake Tahoe. But, ordinarily, she pre-
fers to stay at home and give her atten-
tion to their children.

When the Durante troupe is on the
road, it seems to close ranks and be-
come very much like a family. Jimmy,
Eddie and Jack Roth love to spend
hours reminiscing about the old days,

and Sonny finds that "these stories are
always fascinating, never a bore. I can
sit and listen to them for hours with-
out getting tired."

Usually, each member of the act has
his own lodging. But once, because of a
room shortage, Jimmy and Sonny dou-
bled up. "Never again," wheezes Jim-
my. "It costed me a fortune." It was at
a hotel in Buffalo and, with Sonny
sharing Jimmy's quarters, the younger
man found his closet space too small.
On searching, he found that there was
a second closet in the room, and he
promptly hung all his clothes in there.
Came the end of the week and Jimmy
was handed a $375 cleaning bill — for
Sonny's clothes. "Whatsamatter, ain't
you never seen a 'servamatic' before?"
snorted Jimmy to Sonny.

That, of course, is an arrangement
whereby a hotel guest hangs his clothes
in a special "closet" — which leads out
to the hall! Each time this "closet door"
is opened, a fight goes on in the bellboy
quarters, signifying that something that
needs pressing or cleaning has been
hung up. So, every time Sonny had
opened the door of this closet, all his
clothes had been picked up and sent to
the cleaners. Says Sonny with a grin,
"Jimmy paid the bill . . . but he's gotten
his money's worth ribbing me about my
neatness."

Looking ahead, it is Jimmy's hope to
convert his entire night-club act into
a TV special. "We did it once before,
for the Desert Inn in Las Vegas," he
points out. "What's more, it went over
with a bang. There isn't a single line
that couldn't be put on the air. We
don't use off-color stuff. When we put
on a show, any parent could bring his
kids in to see it."

Jimmy also puts on a free show at the
Desert Inn dice tables. "You'd think,
from his noise, he was betting thou-
sands," says Margie. "Actually, he and
Eddie will split a dollar bet and hold
up the play till they can figure what to
put it on. Meanwhile, they keep the
other players in stitches."

After his stint in September at the
Desert Inn, Jimmy is hoping to do his
first movie in ten years. His old pal,
producer Joe Pasternak, has plans
brewing for him. "I'd like to get more
to do than a three-minute bit," he grins,
referring to his part in the Italian film.
But the fact is that he not only has the
last word in "The Last Judgment," he
provides one of his most moving, amus-
ing and characteristic moments.
Scratching his head at the film's end,
he muses: "I wonder what God
would've lost, had He made my nose a
little smaller?"

Whatever the answer to that pro-
found question, one may say with cer-
tainty that the world of men, women
and children would have lost some of
their happiest memories. . . .

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(Continued from page 12)
to maintain a comfortable suburban
serenity, and gave the impression their
life together was progressing according
to a well -planned timetable.

Even when they were high-school
students in Mount Vernon, New York,
Barbara Mallery and Dick Clark knew
they wanted to marry. When Dick's
parents moved to Utica, and Barbara's
widowed mother moved to Maryland,
Dick's and Barbara's love endured.
When Dick attended Syracuse Univer-
sity, Barbara transferred from Salis-
bury State Teachers' College in Mary-
land to Oswego Teachers' College in
northern New York so they could be
closer together.

But they did not rush into marriage.
Barbara believed that a woman should,
if necessary, be able to earn the family
living or contribute to it. After they
married, she taught for two years in the
Philadelphia schools.

Dick's approach was, "A man should
have a job and some money in the bank
before he marries." A business major
at Syracuse, he expected to go into
broadcasting management. At WFIL,
Philadelphia, he became commercial
announcer of the early Paul Whiteman
TV show. Bandstand followed. He once
remarked, "I'm still surprised to realize
I am a performer."

Barbara, too, fit more closely into
the role of the wife of a young execu-
tive than the wife of a star. Although
she was gracious to the reporters and
photographers who flocked to their
home as Dick's fame grew, she was al-
ways a bit taciturn during interviews.
One gained the impression that she just
hated exposing any facet of their pri-
vate life to public gaze. However, she
did sufficiently unbend to account for
their happy marriage by saying, "Dick
and I are outspoken people. When

The High Price of Fame

things come up, we talk them out."

Both have been concerned lest their
son Dickie (born January 9, 1957) suf-
fer from celebrity-itis. Once, when
Bandstand was originating in Miami,
and the cast included the recording
artist, Fabian, Dick came on the scene
just in time to see Dickie strike out at
Fabian. Dick yelled, "Stop that," but
Fabian explained, "I was just teaching
him how to box."

Dick delivered his verdict, "See that
you hit him back. I don't want Dickie
to get the idea he's an exception to the
rules."

Comfortable, secure suburban life
was the keynote of the Clark household.
Despite Dick's increasingly busy career,
it seemed a strong foundation for a
continuing marriage.

The Rodgers marriage seemed secure
for a contrasting reason. Their love had
been so tested by adversity, it ap-
peared to be a bulwark against any-
thing that could happen.

Jimmie Rodgers and Colleen Mc-
Clatchey were both born in Camus,
Washington. He returned from the
Korean war and a subsequent tour with
an Army show to find that the cute little
blonde girl had not only grown up but
that she had become a Hollywood star-
let. She had been a volunteer at the
local veteran's hospital when screen
star Audie Murphy visited there. Im-
pressed by her beauty, he arranged for
a screen test and studio training. Col-
leen, having played several minor roles,
was home for vacation when Jimmie
received his honorable discharge.

They had one date before Jimmie
found his first professional booking at a
little seaside night club. He came home
again the day after Colleen had been
terribly hurt in an automobile accident.
A series of operations brought some cor-
rection of her internal injuries, but, even

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after she left the hospital, she would see
no one. Her lovely face had been terribly
cut, and, until plastic surgery restored
it, she had to wear a mask of bandages.

Jimmie refused to be banished. Later,
he said, "It certainly was a funny court-
ship. For six months I couldn't even
kiss my girl."

Despite pain and problems, they were
in love. Jimmie had just found his first
adequate night-club booking when a
fellow-entertainer, who himself had
just been married, demanded, "Why
don't you two get married?"

Jimmie turned out his pockets. He
had two thin dimes, plus about five
dollars in the bank. The friend said,
"Don't let that stop you. I'll lend you
money for the license."

Jimmie's success during that early
engagement gave them funds to go to
Hollywood, where they set up their first
home, using furnishings which Colleen
had stored there during her illness.

Tantalizingly, every good booking
was followed by a barren period. They
faced the situation with courage, humor
and ingenuity. To provide Jimmie with
a show wardrobe, Colleen turned over
two turtle-neck sweaters, then sewed
braid down the seams of Jimmie's black
slacks so that they could pass for tux-
edo trousers.

Love compensated for many lacks.
Jimmie once said, "Colleen could make
a celebration out of a pizza pie and a
bottle of wine." And Colleen said, "Jim-
mie was so wonderful. Even when I
had to have some more operations and
the medical bills took every cent he
made, he never complained. All he
wanted was for me to get well."

With such devotion, it was fitting that
when Jimmie's first big break came —
appearances on New York network
shows and a recording contract — he got
his first big hit with a ballad called
"Honeycomb" which has as its refrain,
"It's a darned good life, when you've
got a wife like Honeycomb."

He liked to talk about what a good
wife Colleen was. Her own professional
training helped her fill the demands of
show business. He said, "She's secre-
tary, press agent and valet — and also
my real inspiration."

It was a big milestone in their lives
when they were able to build a house
in the Hollywood hills. Proudly, Jimmie
said, "I've put in forty-eight rose bush-
es around the swimming pool. Some day
I'm going to have horses, too. I want
our kids to grow up enjoying the out
doors as much as I do."

To have a family was their greates
hope. Colleen's health made it difficult
to achieve. They counted it a double
blessing when their daughter, Michele
Colleen Rodgers, was born April 14,
1960, and her birth brought about
an actual, marked improvement in

Colleen's own physical condition.

Why then, when at long last the
Rodgers' difficult days seemed to be
over, did this marriage go on the rocks?

Why, too, should the Clarks, despite
their level-headed approach, have
reached the breaking point?

At first, the Rodgers' weren't talk-
ing and neither were the Clarks. But
whatever the divorce trials may reveal,
there is one common denominator of
trouble — lack of time together. Time to
talk things out when difficulties arise
and to permit them to reach an under-
standing together.

Unless one has been backstage, day
by day, it is difficult to understand the
constant demands which are made on
any top-rated performer. Perhaps no
one, other than the President of the
United States, has so many people ask-
ing so many things of him, every single
instant.

A TV show alone takes such a surge
of energy that an entertainer usually
comes off stage soaking wet with per-
spiration. Then, before he has a chance
to catch his breath, there are friends,
fans and business associates to see,
phone calls to take, decisions to make,
benefits to do, and hours and hours of
travel time. The result can be a deep
fatigue which a night of sleep only
touches. There isn't much energy left
to expend on a private life. A wife can
feel shut out and neglected. Little mis-

understandings occumulate and grow.

Colleen's divorce complaint was filed
on the charge of mental cruelty, but her
explanation was practically a classic
revelation of the tragedy that can strike
a show-business marriage.

She said, "We're both terribly, ter-
ribly tired. Now that I'm home with the
baby, instead of traveling with Jimmie,
we get no time together. When Jimmie
did get home, there were so many
people around they forced us apart."

Unresolved differences of opinion
produced quarrels. "There were so many
pressures on us — business and personal
— we were at each other's throats. We
couldn't go on like that in front of the
baby."

The drastic decision to file suit
brought peace of a sort. Of a period be-
tween bookings when Colleen did see
Jimmie, she said, "We couldn't settle
anything, but at least we weren't fight-
ing anymore."

Asked whether either had a new
romance, Colleen replied, '"There's no
one else." Meanwhile, Jimmie said:
"We are dating each other and have
hope for a reconciliation. However, the
divorce suit has not been called off
yet."

As Colleen says, "Maybe if we had
some time together . . . time away from
people and problems . . . time to rest
and talk and enjoy our baby . . . maybe.
I know Jimmie still loves us."

TV Sets of 1970

(Continued from page 16)
monitor set-up, to "project" home
movies, and — through the use of video-
tape cartridges — to bring into the home
very special entertainment. You may
rent a video cartridge of the latest
Broadway hit and invite friends to
your home for a theater party.

Is all this really possible?

W. Walter Watts, RCA executive
vice-president, answers, "It is not only
possible, it is probable. We are moving
forward very fast. Faster than we
would move if we were concerned only
with consumer products. There is tre-
mendous research being done in elec-
tronics, which the Government has un-
derwritten. Every time a rocket goes
up, you may consider that there is some
electronic device there that will even-
tually be in your home."

It was just a year ago that RCA set
up its Advance Design Center, to plan
for the needs of people in future years.
Specialists were enlisted as consultants:
Paul Rudolph, Chairman of the Yale
University Department of Architecture,
to predict the home of the seventies;
Melanie Kahane, one of the country's
leading interior designers, to forecast
home furnishings; Leonard Outhwaithe,
noted anthropologist, to determine the

future living habits of the nation; and
Joseph Carreiro, Director of the In-
dustrial Design Department at Phila-
delphia Museum College of Art, and
John Vassos, a noted industrial de-
signer, who has been working with
television since its earliest days.

The observations of the specialists
and the electronic expectations for the
70s were fed to the Advance Design
Center this past spring, and out of this
came the sets of the '70s. Mr. Watts
says, "These sets are not working
models, of course, but we hope that
similar sets will be mass-produced, be-
ginning in ten years."

The first model to be introduced at
the Johnny Victor Theater was a tam-
bour-door transitional one — that is, one
between those now available and the
most advanced models envisioned for
the future. It is five inches deep and
completely controlled by a remote in-
strument. A press of a button from
your chair, and the "door" rolls up to
expose a sharp, crisp color picture. The
set is framed in wood, but this is a con-
cession to the public. TV manufac-
turers find that consumers still prefer
to buy receivers in a wooden cabinet,
while designers at all the major com-
panies believe television should be en-

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cased in metal. Designers feel there is
nothing handsome about the shape of a
TV receiver and, even at present,
would recess it in bookcases or the
wall. But you can't fight John Q.
Public — though the designers hope that
"tambour transitional" will be the last
time you buy TV enclosed in wood.

The second transitional piece is the
"Avant Garde Case on Case," a vari-
ation of the hutch design. The set
looks completely functional. The pic-
ture is large, bold, four inches thick,
with a large parabolic curve. In the
slim compartment below the picture
are the controls and storage area for
video cartridges — some twelve hours
of hand-selected private programing.
You could conceivably choose your
own: A concert by the New York
Philharmonic, a World Series game, a
new play or a variety show. The cart-
ridges would be available for purchase
or rental at a neighborhood store, just
as films are today.

This receiver would also serve as a
projector for home movies. A hand-
held TV camera which records picture
and sound on tape is already in com-
mercial use, and it's likely that such a
camera would be available for home
use. You would shoot a picture of the
kids in the backyard with your camera-
tape recorder, instantly bring it back
into the home, and play it over your
TV receiver by inserting the cartridge
in a special slot.

Last in the "transitional" pieces is the
dramatic "Globe Trotter" — the ultimate
in the instrument-type look that de-
signers are fighting for. It is a receiver
with great versatility. One side will be
a radio and you will receive interna-
tional stereo sound. This would be a
unit capable of receiving music from
Australia, Calcutta, Paris and London.
Your tuner is a global map, and a
pencil-light will indicate on the map
the city you have tuned in.

Four time-zone clocks mounted in
the panel tell you the specific time in
every part of the world. The panel is
suspended on pivots — a push of the
hand revolves the set to the reverse
side, to expose the international color-
TV receiver. With satellite relay sta-
tions in the sky, it is wholly within the
terms of probability that, by the '70s,
you may press a button and have the
sights and sounds of Hong Kong, Mos-
cow or Bangkok on your screen in
full color.

All of these large sets are slim and
light enough to be taken off their stands
and mounted on a wall or used as
ioom dividers. The Globe Trotter could
be set into a wall between two rooms,
so you could listen to international
radio in one room and watch TV in the

T other,
v

R Besides the startling appearance of
these receivers, they represent a de-
parture in reasoning and adaptation to

the American way of life. The think-
ing, for several years, has been of tele-
vision pictures projected on an entire
wall. Many still think this is TV of the
future — a screen five to fifteen feet
wide viewed broadly, as you see a mo-
tion picture in a theater. RCA de-
signers reason this is impractical for
family use. Their contention is that
people's tastes will not have changed
by the '70s and it is likely that father,
mother and children may all differ in
choice of programs at one time. Then
it will be an advantage to have smaller
sets and several of them, rather than
one receiver which projects a huge
wall picture. (Of course, it is possible
that you may have one such set in the
living room and smaller flat-tube sets
in other rooms.)

The oohs and ahs were plentiful,
when the small sets of the future were
unveiled. These are based on the

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theory that Americans will be more
mobile than ever, in the '70s, and it's
likely that we'll want to take our en-
tertainment with us. The largest of the
portable units is the "Home Communi-
cations" model, which RCA designers
refer to as "the hockey stick" because
of its profile.

This is a receiver which a housewife
can easily carry with her around the
house. It can be used to bring in a
commercial program and — at the same
time — serve as a private personal eye.
Flick one button, and you get a picture
of the man ringing at the front door or
back door. Another button gives you a
view of the bedroom to check the
children, or the swimming pool.

A very interesting Father's Day gift
for 1970- ? is the "Attache." An ordi-
nary-size attache case carries a color-
TV receiver, plus equipment to play
video cartridges. If Dad is a salesman,
he can make his whole presentation in
animated color — or he can carry it to a
friend's home, to show pictures taken
during the family vacation. When he's
alone on the road, he can open his case
in a motel room and tune in a com-
mercial program — or insert a cartridge
and see the football game he missed.

It is these compact models for which
you'll wait the longest, and the end
will be the pocket models. It was
many years before the portable radio
was reduced to pocket-size, and the
same patience will be required for
truly portable TV receivers. One pro-

jected model is "The Bookette." This
is a personal color TV-radio combina-
tion which is book-size, with a clock
timer for automatic tuning of either
the radio or color TV receiver.

The last and least — in terms of size-
is a pocket-sized combination color TV
and stereo radio set which will fit into
your purse or pocket. It will combine
color TV with AM-FM radio. Mr. Watts
says, "One day, I hope this will be
produced for $49.95 and people will
carry them as they now carry transis-
torized radios."

You may note that none of these sets
has antennas. The industry considers
it reasonable to assume that, by the
'70s, there will be a scientific break-
through eliminating roof antennas and
rabbit ears. Some of the tools and
devices which will make these sets
possible are already at hand. Tran-
sistors and other micro modules are
already in use in radios and in some
brands of TV receivers. This is the
beginning of miniaturized equipment
which will make for slimness and por
tability.

Stereo radio— already a fact, through
AM-FM simulcasts — has now been im
proved through the use of multidex FM
equipment. International telecasting is
expected to be with us in a few years,
The United States and the British both
plan to have a communications satel-
lite up, by 1964, which will carry
its own spare parts that automatically
swing into place when needed — and
these space mechanics will keep such
a satellite functioning some twenty
years. In May of this year, our Na-
tional Aeronautics and Space Ad-
ministration selected RCA to build the
Government's first experimental com
munications satellite capable of relay
ing telephone calls and television pro
grams across the Atlantic. Its targe
for launching is mid-1962.

The biggest hurdle for scientists i:
the flat screen. Today, a color receiver
extends twenty-three inches to the
rear, and a black-and-white tube nine-
teen inches. Everyone in the industr;
is trying to invent a flat screen. But,
as yet, no one knows the answer. It
may be that the screen will be illu-
minated from the side or from a small
box on the floor.

None of these ideas is science-fiction.
The sets of the '70s are not impractical
dreams. If you have any doubt, re-
member that it was in this century
that the first flying machine carried
the Wright Brother a hundred feet —
a mere stone's throw — and that, this
year, a man named Shepard was
rocketed to outer space. But one word
of warning: Don't call your local store
and ask when they will be stocking
a pocket-size TV receiver! They don't
know, and scientists don't know. But
it's a definite promise for the very
exciting future!

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OCTOBER, 1961

MIDWEST EDITION

VOL. 56, NO. 5

Ann Mosher, Editor Jack Zasorin, Art Director

Teresa Buxton, Managing Editor Frances Maly, Associate Art Director

Lorraine Girsch, Associate Editor Eunice Field, West Coast Representative

STORIES OF THE STARS

9 Those Oriental Dolls (pretty as their pictures!)

12 Jack Benny by Bill Kelsay

14 The Enigma of the Lennon Sisters by Roger Beck

18 The Problems of a Working Mother (Jeanne Cagney)

20 Day by Day on The Edge Of Night by Frances Kish

24 Hot Voice for a Cool Cat (Arnold Stang)

26 The Private Life of a Private Eye (Van Williams) by Mrs. Van Williams

30 The Hard Road to Somewhere ( Anthony Eisley) by Charles Miron

32 Cynthia Pepper by Joseph H. Conley

34 Harrah for Linkletter! (Art "sings" for his supper!)

38 Diana Hyland: Gig Houseman by Alice Francis

40 They Grew Their Own Audience (Breakfast Club) by Helen Bolstad

44 One- Woman Campaign to Put the Glamour Back into Hollywood

by Kathleen Post

48 Ten Loveliest Lovelies on TV by Adam Mitchell

52 Calling Dr. Kildare (Richard Chamberlain)

54 Her Bachelor Husband (John Forsythe) by Maurine Remenih

A-OKAY: THE DISCS AND DISCERS IN ORBIT THIS
MONTH

56 The Electrifying Harry Belafonte by James Taylor

58 Mitch Miller: Man Against Crime and Corn by Martin Cohen

60 Discs in Orbit by Peter Abbott

68 Dick Gregory: New Comedian by Helen Cambria

70 David Seville Brines Alvin to TV by Enid Fife

72 Brenda Lee: Itsy Bitsv Girl with the Big, Big Belt! by Lilla Anderson

74 Al Hirt: The Biggest Trumpet in the Land by Jim Morse

SPECIAL MIDWEST STORIES

76 A Smile in His Voice (Bob Greenberg of WEAW)

78 Exercising to Music (Andy Marten of WLW-D)

80 He's an Optimist (Don Bruce of WRIT)

81 Next-door Neighbor (Polly Weedman of KOTA-TV)

FUN AND SERVICE FEATURES

4 What's New by Eunice Field
8 Information Booth
83 New Designs for Living (needlecraft and transfer patterns)

Cover Portrait of the Lennon Sisters by Bob Perkins
Blouses worn by the Lennon Sisters, Courtesy of Ship'n Shore

Published Monthly bv Macfadden Publications, Inc.
Executive, Advertising, and Editorial Offices at 205 E.
42nd St., New York, N. Y. Editorial Branch Office. 321
S. Beverly Dr., Beverly Hills, Calif. Irving S. Manheimer,
Chairman of the Board; Gerald A. Bartell, President;
Frederick A. Klein, Executive Vice-President — General
Manager; Robert L. Young, Vice-President; S. N. Himmel-
man, Vice-President; Lee Bartell, Secretary. Advertising
offices also in Chicago and San Francisco.

Foreign editions handled through Macfadden Publications
International Corp., 205 East 42nd Street, N. Y. 17, N. Y.
Gerald A. Bartell, Pres.; Douglas Lockhart, Vice-Pres.

Re-entered as Second Class matter, June 28, 1954, at the
Post Office at New York, N. Y., under the Act of March

3, 1879 Second-class postage paid at New York, N. Y.,
and other post offices. Authorized as Second Class matter
by the Post Office Department, Ottawa, Ontario, Canada.
© 1961 by Macfadden Publications, Inc. All rights
reserved. Copyright under the Universal Copyright Con-
vention and International Copyright Convention. Copy-
right reserved under ihe Pan American Copyright Con-
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Whats New

• bv ELMCE FIELD

Pitcher-turned-actor Don Drysdale (r.) is seen with The Rifleman.

The Sportsmen: When Don Drysdale, Dodger fire-baller, drew a five-
day suspension for overdoing the brash-back pitch, he was promptly
signed to play a gunslinger on The Rifleman by ex-ballplayer Chuck
Connors, star of the show. Said Connors: "Maybe it's a throwback to
the old days when I was in uniform, but I hate to see a player side-
lined for giving the team all he's got. I figured this was one way to
make up to Don for the fine."

The Lawman: Young, handsome Peter Brown is so involved with
the role he plays as a deputy marshal that he has begun to live, sleep
and breathe the long-gone world of the Old West. "In the town of
Laramie," he admits, "I feel at home. I feel sure of my values. I know
why I'm there." Peter hurries to explain, "Don't get the idea I'm living
in a makebelieve world. It's just that I feel I'd have been happier if
I'd been born a century earlier. I like being dressed in Western togs.
And, most of all, I like the fact that, in the Old West, they were fast
with the gun but mighty slow and careful about judging people. Every
man was considered decent until he did something to change that view.
But today, while we don't pack guns, we are too fast with snap judg-
ments and we don't trust anyone until he's (Continued on page 6)

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What's New

done something that pleases us."

The Funny Men: Shelley Berman,
anxious to do a Broadway show, is
shaping up by playing Nathan Detroit
in "Guys and Dolls" with the Los
Angeles Civic Light Opera. . . . Bob
Newhart's TV pact requires him to
stay single for the coming year. Rea-
son? A majority of the sketches in
the show will feature the adventures
of Bob Newhart, buttoned-down
bachelor. "I'm like a kid who's been
told he can't have chocolate," says
Bob. "Suddenly, marriage has become
irresistibly attractive." . . . The Em-
peror of Insult, Don Rickles, with a
new three-year half-million-dollar
contract from the Las Vegas Sahara,
is all agog at the success of his first
dramatic role on Wagon Train. He
has just been signed for another. . . .

Perhaps the busiest comic in recent
months has been Frank Gorshin. In
the first half of 1961, he did three
movies, six TV guest spots, a stint at
Las Vegas and another in New York.
While on the night shift at the Cocoa-
nut Grove with Eddie Fisher, Frank
was still plying his trade by day in
"The George Raft Story." Said Frank,
ordinarily the mildest of men, "The
next person who asks me 'Whatcha
been doin' lately?' gets a poke in the
snoot." But Frank shouldn't com-
plain. Ed Wynn, at the three-quar-
ter-century mark, answered a 7:30
ajvi. call for a scene in "Babes in
Toyland." It wasn't until 6 p.m. that
he was approached by director Jack
Donohue and asked, "Are you
ready?" Jovial Ed replied, "Yes, and
I'm glad I got here on time." Sorry
for the delay, Donohue said, "Are you

In serious discussion on Lawman set —
director Marc Lawrence, Peter Brown.

At "Francis of Assisi" premiere, Lennon Sisters chat with Cardinal Mclntyre.

happy here, Ed?" To which Wynn
said, "At seventy-five, I'm happy to
be anywhere."

Half -Way House: Ernie Ford's
"retirement" may sound to some peo-
ple like something you do for the
night, since it was only one month
after he left NBC that he announced
a "comeback" with ABC-TV for a
five-a-week daytime series. At any
rate, it's the shortest retirement on
record. But the Ol' Peapicker ex-
plains it this way, "It might not be
a solid seven-days-a-week retire-
ment, but it will give me a full four-
and-a-half days to go fishing — and
give my boys Brion and Jeff a great
deal more of my time than before.
The new program won't be aired be-
fore April, 1962. It will be beamed
from San Francisco, and sometimes
out of my new home — up the road
from Shirley Temple Black's place
in Atherton. I won't have to do any
traveling, to speak of, and I can tape
a week's shows in two-and-a-half
days. Figure it for yourself. My once-
a-week NBC show took double that
time. Oh, I'm retired enough to suit
me and my family. Listen, I'm like
the firehorse they put out to pasture.
Every time the dinner-bell rang, he
came charging to the gate. He knew
doggone well there wasn't any fire,
but he just enjoyed the excitement."

People and Plans: October 7,
second anniversary of his death, has
been named by his hometown of
Philadelphia as "Mario Lanza Day."
The singer's four children and par-

Pert musical star Carol Lawrence
guests on General Electric Theater.

ents will be the honored guests for
the city's tribute. Funds are being
raised to buy the home Mario was
born in, to turn into a permanent
monument to his memory. Mario still
remains most beloved son of the city
that has fostered so many current
stars — among them, Joey Bishop,
Fabian, and Frankie Avalon. . . . Cara
Williams, practically a social recluse
after her divorce from John Drew
Barrymore, has been hitting the
night-spots, with Scotty Rubin and
George DeWitt her most frequent es-
corts. . . . Tuesday Weld lost her ton-
sils at Beverly Hills Doctors Hospital,
but she won even more of Gary Lock-
wood's affection. Gary managed to
get the day off, from his Follow The
Sun TV series, so he'd be present
when Tuesday was operated on. And
Tuesday — who doesn't like to do tele-
vision— is now pressuring 20th Cen-
tury-Fox to find a script for her to do
on Gary's show. . . . Singer Gene Mc-
Daniels, of "100 Pounds of Clay"
fame, is going into a sideline business
— manufacturing clay sets for chil-
dren. . . . And John Saxon is spread-
ing his "investment" wings, too. He's
backing a health-food restaurant in
Palm Desert and will call it "Saxon's
Soybeanery." . . . Even blase Holly-
wood was surprised at the excitement
Lawrence Welk's opening at the Pal-
ladium brought. L.A. mayor Samuel
Yorty and Welk blew bubbles
through an electronic device, and his
colorful globes floated gracefully
along Sunset Boulevard, causing
traffic to come to a standstill. The
Palladium (Continued on page 82)

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by RICHARD HUDNUT

T
V
R

Robert Vaughn

INFORMATION

BOOTH

Carol Christensen

A Natural Talent

What can you tell me about that handsome
young actor Robert Vaughn?

J.H.R., Levittown, Pa.

Handsome young Robert Vaughn comes by
his acting ability naturally — his mother and
father were Marcella and Walter Vaughn, for
many years well-known stage actors in stock
and on Broadway. Bob's parents eventually
settled in Minnesota, where Bob attended
high school and the University of Minnesota,
where he majored in journalism. During his
two years at the latter school, Bob appeared
in school dramatics and summer stock.
Eventually, he went to Los Angeles, where he
attended Los Angeles State College, from
which he was graduated in 1956 with a
Bachelor of Arts degree in drama. . . . The
talented actor has appeared in such movies
as "The Young Philadelphians" and on TV in
such shows as Playhouse 90, Alfred Hitch-
cock Presents, and Thriller. . . . The twenty-
nine-year-old bachelor likes to fish, swim,
play tennis and handball, and is an avid TV
sports-viewer.

From Science to Show Business

/ would like to know something about the
actress Carol Christensen.

V.A.B., Dallas, Texas

As a child, pretty, dark-haired Carol
Christensen had every intention of following
in her father's footsteps and becoming an
engineer in the automotive field. So, she

studied mathematics and science at South-
field High School, located in a suburb of
Detroit. After high school, she took a job
as secretary to an executive engineer at
American Motors. Because she was so at-
tractive, Carol was often called upon to pose
for publicity pictures. And that was how she
was diverted from science to show business.
Modeling and appearances in television com-
mercials eventually led Carol to Manhattan
and more modeling and acting on TV. A
nationwide tour, demonstrating bowling
equipment and fashions, led to Carol's being
discovered for the movies and West Coast TV.
... A bachelor girl at twenty-four, one
of Carol's favorite hobbies is . . . bowling,
naturally !

Calling All Fans

The following fan clubs invite new mem-
bers. If you are interested, write to address
given — not to TV Radio Mirror.

Kathy Young Fan Club, Donald Lee Woods,
1172 Washington Street, Noblesville, Indiana.

Mike Clifford Fan Club, Betty Parker,
Box 350, Beverly Hills, California.

Those Oriental Dolls

For a special kind

of glamour, there's

nothing like these

diminutive belles who

bring their own

unique beauty to TV

In real life, Miyoshi

Umeki won an American husband

more happily than she won

an Oscar for sad "Sayonara."

Cute queues: Sinny Tiu "came to breakfast" from Hong Kong — at five!

THESE miniature belles ring in from around the world! Tiniest
of all, Ginny Tiu was born in Manila, discovered playing all-out
piano at her father's hotel in Hong Kong, made her professional
debut on Breakfast Club in Chicago — when she was all of five.
Since that March day in 1959, Ginny has recorded an album, TV-
guested with Perry, Dinah, Groucho. Miyoshi Umeki started, later,
came up fast. A top TV performer in Japan, she starred on Broad-
way in "Flower Drum Song"— ditto, U-I's movie version. She's
wed to TV director Win Opie. Judy Dan began as Miss Hong Kong,
placed third in Miss Universe contest of '56, won a movie contract,

Continued

Those Oriental Dolls

Private eye-full: Judy Dan of Hong Kong

is in secretary-pool on ABC-TV's Hawaiian Eye.

has attended college in Los Angeles. Nobu
McCarthy (born Atsumi) got her first name
from her father — a Japanese diplomat then in
Ottawa, Canada — her last name from her
graphic-designer husband. She's appeared op-
posite Jerry Lewis (in "Geisha Boy"), also
starred for MGM. Sondi Sodsai was Miss
Thailand of 1960, but came to U.S. as a Ful-
bright scholar at U. of North Carolina. She
has an M.A. from U.C.L.A., sings "pop," plays
Spanish guitar, cooks strictly American. Anita
Loo hails from Hong Kong, made her TV
debut in series of that name. A student of
Mills College and U. of California, she now
studies drama, expects she'll be "the first
Chinese 'method' actor"! Lisa Lu was born in
Peiping, raised in Shanghai, educated at U.
of Hawaii. Her husband owns a Chinese res-
taurant in Los Angeles. Marseilles is birth-

Love that name! Nobu McCarthy guests on
NBC-TV's Laramie, with John Smith, Bob Fuller.

Adventures In Paradise: Gardner McKay and

Sondi Sodsai — whose father heads university in Bangkok.

place of France Nuyen, whose mother was
French, father a Chinese ship navigator. A
former art student, "Fan Fan" wowed Broad-
way (not to mention Brando) in the stage
version of "The World of Suzie Wong.". . . .
Though their top TV showcases have been
Westerns and whodunits, these cute fortune
cookies have been welcome guests on every-
thing from Pete And Gladys to Playhouse 90.
Truly, their appeal is universal. . . .

Drably dressed for TV scene with Bob Conrad,
Anita Loo got her first assignments here because
of gorgeous costumes she brought from Orient.

Deemed "sexiest" of

Oriental dolls, Lisa Lu

replaced i"Hey Boy" (!) on

CBS-TV's Have Gun— Will

Travel last season, is

actually wdll-bred daughter

of Chinese diplomat.

in Hawaii, the Eden where
East truly meets West, is a
fitting backdrop for
France Nuydn, who made
debut in "South Pacific."

filr

ll5

Those Oriental Dolls

Private eye-full: Judy Dan of Hong Kong

is in secretory-pool on ABC-TV's Hawaiian Eye.

has attended college in Los Angeles. Nobu
McCarthy (born Atsumi) got her first name
from her father— a Japanese diplomat then in
Ottawa, Canada— her last name from her
graphic-designer husband. She's appeared op-
posite Jerry Lewis (in "Geisha Boy"), also
starred for MGM. Sondi Sodsai was Miss
Thailand of 1960, but came to U.S. as a Ful-
bright scholar at U. of North Carolina. She
I,,: an M.A. from U.C.L.A., sings "pop," plays
Spanish guitar, cooks strictly American. Anita
Loo halls from Hong Kong, made her TV
debut in series of that name. A student of
Mills College and U. of California, she now
studies drama, expects she'll be "the first
Chinese 'method' actor"! Lisa Lu was born in
Peiplng, raised in Shanghai, educated at U.
of Hnwnii. Her husband owns a Chinese res-
taurant in Los Angeles. Marseilles is birth-

Love that name! Nobu McCarthy guests on
NBC-TV's Laramie, with John Smith, Bob Fuller

1 **>,

■: kt.. ^1
I >w^9 -2

y i i

r -I']

V -

Drably dressed for TV scene with Bob Conrad,
Anita Loo got her first assignments here because
of gorgeous costumes she brought from Orient.

Adventures In Paradise: Gardner McKay and ,

Sondi Sodsai— whose father heads university in Vony ■

place of France Nuyen, whose mother was
French, father a Chinese ship navigator. A
former art student, "Fan Fan" wowed Broad-
way (not to mention Brando) in the^ stage
version of "The World of Suzie Wong.". • • •
Though their top TV showcases have been
Westerns and whodunits, these cute fortune
cookies have been welcome guests on eveI^"
thing from Pete Avd Gladys to Playhouse HU.
Truly, their appeal is universal. . • ■

Deemed "sexiest" of

Oriental dolls, Lisa Lu

replaced "Hey Boy" (I) on

CBS-TVs limit Gun Will

rVtKwi last season, is

actually well-bred daughter

of Chinese diplomat.

Hawaii, the Eden where
East truly meets Wost, is a
filling backdrop for
France Nuydn, who made film
debut in "South Pacific"

~«

1 £ Jfl

■low

Sjfc

If k^A ^^

* *

A fiddle player ivho's cutting the deficits without cutting the comedy

by BILL KELSAY

September 27, CBS telecasts the Carnegie Hall
tribute to Jack Benny — complete with such
ranking members of the musical elite as Isaac
Stern, Van Cliburn, Roberta Peters, the Benny
Goodman Sextet, Eugene Ormandy and the
Philadelphia Orchestra . . . pretty heady com-
pany for a performer whose violin has been
little more than a prop for a running joke on
TV! Actually, the tribute — and the awards given
Benny for his symphonic efforts — have not been
in recognition of a great musical talent . . . but
because Jack has turned his other talents to the
practical side of the preservation of good music.
In more than a score of benefit concerts -New
York to Honolulu, Toronto to New Orleans —
he's raised in excess of two million dollars for
charity and various orchestra funds.

"It all started with one of my regular tele-
vision shows," says Jack. "I was supposed to
have had a big fight with my sponsor. I went
home mad and said, 'I should have stuck with
the violin!' Then I fell asleep and had this
dream where I was the guest soloist with the
Los Angeles Symphony. ... In a situation like
this, you cannot play badly to get laughs. The
fact is, you surprise your audience by being
able to get through Mendelssohn. The humor
comes from small, annoying things that happen
or through other musicians trying to take the
play away from you. ... I hadn't really played
the violin for years. So, for a month before
this show, I had to practice several hours a day.
Let's face it — I'm not thirty-nine anymore and
my fingers weren't supple and I had lost the
touch."

Meanwhile, in New York, Carnegie Hall was
about to be torn down and a committee had
been formed to save it. They asked Jack to
help raise funds by appearing as guest soloist
with the Philharmonic in an act similar to the
one on TV. . . . Jack was in Houston attending
the convention of the Retarded Children's
Society, of which he was honorary president.
There, a leading citizen from Oklahoma sug-
gested he break in the concert act with the
Oklahoma City Symphony to raise money for
the society. The pattern for Jack's concert ap-
pearances was first set in Oklahoma City: The
comedy involves primarily the concertmaster,
assistant concertmaster and cymbalist, and re-
flects the same type of humor Jack has per-
fected in radio and TV. He is "the fall guy"
trying to live up to an image he has of himself —
and never quite succeeding.

"The big job in these concerts is preparation,"
says Irving Fein, president of Jack's produc-
tion company. "For most of the people we are
working with, it is their first experience with
this sort of thing. I begin with letters telling
them how to sell tickets, what to use for ad-
vertising, how to set up committees. After all,

Back to Bach: Jack and violinist
Isaac Stern duet for a worthy cause.

they want to make money for their particular
cause, and there's no point in having Jack play
to a half-empty house. . . . We arrive in town
at least a day or two before the concert. We
have our first rehearsal with the key men in-
volved, in Jack's suite, so that, when we get on
the stage, their parts are perfect and we don't
spend the entire symphony's time. This way, we
work no more than two hours with the full
orchestra. Then it's done. No problems.

"We have been a little concerned that we
might run into a conductor who thought comedy
was unprofessional and not suitable for the
concert stage. Last year, we were worried about
George Szell, who has built the Cleveland Or-
chestra into one of the five greatest of the world.
He is a great, dedicated, and demanding con-
ductor. . . . He couldn't have been more charm-
ing! He laughed and said to Jack, T want to re-
hearse this again — you know comedy, I don't.'
He is a perfectionist in his field, and recognized
that Jack was also a perfectionist in his."

Unfortunately, there's only one Jack Benny
— and several hundred symphony orchestras.
There are some four hundred requests. Jack
would like to do them all but, obviously, this is
out of the question. There is one in particular
he would like to do. About two years ago, it
looked as though he'd be able to play with the
Salt Lake City orchestra. But, when he was
available, their schedule was inflexible. Ever
since, wherever he makes a concert appearance,
he receives a telegram: "Hope you are wonder-
ful tonight. Wish you were here!"

Carnegie Hall Salutes Jack Benny, on CBS-TV, Wed., Sept. 27, 10 to 11 P.M. EDT.

A fiddle player who's cutting the deficits without cutting the comedy

by BILL KELSAY

Cbtember 27, CBS telecasts the Camegie Hall
•^tribute to Jack Benny— complete with such
ranking members of the musical elite as Isaac
Stern, Van Cliburn, Roberta Peters, the Benny
Goodman Sextet, Eugene Ormandy and the
Philadelphia Orchestra . . . pretty heady com-
pany for a performer whose violin has been
little more than a prop for a running joke on
TV! Actually, the tribute— and the awards given
Benny for his symphonic efforts— have not been
in recognition of a great musical talent . . . but
because Jack has turned his other talents to the
practical side of the preservation of good music.
In more than a score of benefit concerts — New
York to Honolulu, Toronto to New Orleans —
he's raised in excess of two million dollars for
charity and various orchestra funds.

Back to Bach: Jack and violinist
Isaac Stern duot for a worthy causo.

they want to make money for their particular
cause, and there's no point in having Jack play
to a half-empty house. . . . We arrive In town
at least a day or two before the conceit. We
have our first rehearsal with the key men in-
volved, in Jack's suite, so that, when we >.< t mi
the stage, their parts are perfect ond we don't
spend the entire symphony's time. This way, we
work no more than two hours with the full
orchestra. Then it's done. No problems.

"We have been a little concerned that we
might run into a conductor who thought comedy
was Unprofessional and not suitable for the
concert stage Last year, we were worried about
George Szell, who has built the Cleveland Or-
chestra into one of the five nreate;;l of the world.
He is a great, dedicoted, and demanding con-
ductor. ... He couldn't have been more charm-
ing! He laughed and said to Jack, 'I want to ra
hearse this again — you know comedy, I don't.'
He is a perfectionist in his field, and rccoi'.oi." 'I
that Jack was also a perfectionist in his."

Unfortunately, there's only one Jack Benny
— and several hundred symphony orchestras.
There are some four hundred requests. Jack
would like to do them all but, obviously, this Is
out of the question There is one in particular
he would like to do. About two years ago, it
looked as though he'd be able to play with the
Salt Lake City orchestra. But, when he was
available, their schedule was Inflexible. Ever
since, wherever he makes a concert appearonca,
he receives a telegram: "Hope you are won
ful tonight. Wish you were hi <

Carnegie Hall Salu.es Jack Benny, on CBS-TV. Wei, Sept 27, 10 .o 11 P. M. EOT

the Mm of

Young people identify with Kathy, Janet and Peggy — but don't boost them to a million-sale gold disc.

Peggy, Kathy and Janet, the singing Lennon Sisters,
have many things going for them. Personally, they
are pretty, charming, intelligent, warm, witty and tal-
ented. Individually, they have lovely, clear, melodic
voices. Together, they achieve a harmony seldom
equalled this side of an angel choir.

On television, they are the most popular act on one of
the video tube's most popular shows. In personal ap-
pearances, they play to standing-room-only crowds.
With their related commercial endeavors — coloring
books, cut-out dolls, biography book and girls' dresses
— they are enormously^ prosperous.

Yet, with all these successes, they have failed in the
one field where these singers should be the most suc-
cessful: They do not sell records.

In attempting to solve this puzzling riddle of why the
talented trio has never had a hit record, I talked to the
people who should know. The answer certainly should

be found among those who work with and live with the
girls. It was. From the welter of corroborating and in-
terrelating opinions emerged a clear-cut picture that
easily explained the enigma.

One facet of the answer came from a spokesman for
the ABC-TV network. "The Lennon girls have a visual
appeal," she said, "because people have a sense of iden-
tification with them. Older women think of them as their
children, young people consider them as their sisters.
They are sweet and fresh and wholesome. They are
'family style,' like everything else on the Lawrence Welk
show. . . . But, on records, this visual identification is
lacking."

The picture came a little more clear in talking to Mrs.
Isabelle Lennon. "Rock 'n' roll is still the big thing in
records today," said the attractive mother of this trio and
their eight brothers and sisters. "Young people buy rec-
ords, and that's the kind of music they want. But our

the Lennon Sisters

ROGER
BECK

A triple-threat trio, with beauty, charm and talent
to spare. Yet they never had a hit single. Why?

"All-American girls" in other-land costumes, for one of Lawrence Welk's
great production numbers. Below, Kathy both duets and dances with Larry Dean on show.

girls never cared to do that type of material. They do not
want to sing anything that may be considered suggestive,
and having a hit record isn't as important to them as
singing the music they think is good. . . . The rhythm
numbers and ballads the girls do just aren't commercial
today, and what is selling just doesn't sound right with
their particular blend of harmony."

Tom Mack, a Dot Records executive, brought up the
element of luck in the enigma of the Lennon Sisters, and
revealed a little-known aspect of their recording career.
"No, the girls have never had a hit single," he said.
"They haven't had that lucky piece of material that will
give them a hit. But it's not generally known that their
albums sell very well. For example, their 'Christmas
Lenrion Sisters' LP didn't come out until November, but
it still sold over 25,000, which is quite a good sale for a
Christmas album. . . . And don't forget — that type of
album will sell every year."

Continued

the Enigma of the lennon Sisters

Sam Lutz, who manages the girls and
Welk, as well as many other stars, was
particularly optimistic about the Lennons'
future. "They're going to sell," he declared
emphatically. "So far it's just been a lack
of the proper material. You know, some-
times it takes a long time to find it, and
seventy percent of success is the material
— then comes interpretation. Every time
we record, we do so, thinking it will be a
hit. But who really knows what will be a
hit?

"The girls do too well in everything else
to go for long without a hit record. The
royalties from their commercial lines
brought in close to $86,000 the first year.
They broke a personal appearance record
at the Steel Pier in Atlantic City that had
been held by Guy Lombardo for nineteen
years. They get more than 2,000 letters a
week. And their 'Lennon Sisters Sing
Catholic Hymns' album has sold over 40,-
000 copies. But you never hear that on the
air.

"Someday, we'll get a piece of material
and it will be a hit."

Dad Bill Lennon put all the pieces of the
puzzle into place with his summation:
"We'll never compromise our values to
make money. The girls are exactly as they
'project' on the air — they're sweet, home-
loving girls who are mainly interested in
their family and friends. They have no
drive for recognition and big money. So
we've frowned on the girls doing rock 'n'
roll. The Welk organization agrees with us
that no record is important enough to de-
stroy the true image of the girls, that the
wrong record would only hurt them, in

Manager Sam Lutz has his own ideas
about when the girls are "going to sell."

Then — and now. Janet Lennon, just 15 last
June, has practically grown up on maestro Welk's show.

the long run. . . . Actually, we haven't
concentrated too much on records. Be-
tween their various endeavors — plus their
family, friends and religion — there isn't
much time for recording."

One episode well illustrates the fact that
the Lennon Sisters have no burning ambi-
tion to become immensely wealthy and
famous. Recently, they were offered a TV
series which would have paid handsomely
and promised lucrative residuals. The girls
met to discuss the offer — as they always do
on all business matters where a decision is
necessary — and turned it down because it
would have meant too much time away
from a normal life.

They have no show-business friends, no
glamorous singer or movie star for an idol.
All each wants is to someday achieve a
happy marriage and settle down to raising
a family, as older sister Dianne did when
she quit the act last year. Dianne is their
idol, her marital accomplishment their
goal.

And so the puzzle isn't really a puzzle
at all. The Lennon Sisters typify the ideal
"all-American girl." They are decent,
wholesome, self-disciplined, well-reared
girls who won't do anything they think is
suggestive or in bad taste.

If this means waiting for a "hit" until
the trend in music changes, then the Len-
non Sisters are prepared to wait.

rTc —

Lovebirds all — including Jeanne,
daughters Mary Ann (going on six)
and Terry (just turned three).

Quote: "I figured I would be the best
possible mother to my children by being
the most complete person possible."

Stroll outside Benedict Canyon home — they call it "Hurly-burly Heaven."

children are ever fully out of your
heart or mind. When you're a par-
ent, you can't ever not think of
them."

She mentions the family-plus fac-
tors of her career: A short work
week and freedom to arrange time
that would not be possible in movies
or on stage. "Another thing," she
says, "I don't need diversions such
as bridge sessions or luncheons. My

work supplies the human warmth
and interest in fellow beings that
people ordinarily seek in group
activities. Also, like other mothers of
young children, I feel that commu-
nity service should come later."

Jeanne, who became familiar with
the child's world as a nursery-school
volunteer pior to her marriage, is
adamant on the subject of household
help for employed mothers: "It is a

must so that the mother is not ex-
hausted all the time. You have to
treat yourself as a person, as well as
the rest of the family."

Jeanne also says, "I'm convinced
that the husband's approval of his
wife's employee role is terribly im-
portant. I find Jack's support the
greatest help of all. He understands
what I am trying to do and appre-
ciates my attempt to do a good job."

DAY BY DAY ON

FRANCES KISH

■ Everyone loves a good melodrama, particularly
when it is well constructed, well produced and acted.
This is the premise of the CBS-TV daytime serial,
The Edge Of Night, created and written by Irving
Vendig, dialogue by Carl Bixby, directed alternately
by Allan Fristoe and Dick Sandwick.

Don Wallace, executive producer of the show for
the advertising agency, Benton & Bowles, 'says: "From
the beginning, The Edge Of Night was conceived as
unique among daytime serials because it is melo-
drama rather than drama. As we see it, melodrama
is largely external conflict. Drama is internal con-
flict. Although drama and romance enter into melo-
drama, there is a stronger emphasis on action."

Unique, too, is the central character — a man, rather
than a woman. "When we learned our time spot would
be late afternoon in most communities, we knew there
was the possibility of a large audience of men. As it
turned out, we were right. Many male workers are
off their jobs by the time we come on. Both men and

Marjorie Gibson is proud of brother Ec

women enjoy criminal lawyer Mike Karr, not only as
a romantic figure, but as a man of action. John
Larkin, who plays him, is a creative, . complicated,
exciting actor, and he has made unusual contributions
to the show's development."

The show itself has a different format from most
daytime serials, being essentially episodic. It runs
through a complete story from beginning to end. The
elements which overlap are the continuing characters:
Mike Karr; his private-eye assistant, Willy Bryan;
Mattie Grimsley, mother of Mike's late wife; her hus-
band Winston and his daughter Louise, now wed to
Phillip Capice; Mike's junior partner Ed Gibson, Ed's
sister Marjorie and his wife Judy; the district attor-
ney, Austin Johnson; and Mike's small daughter,
Laurie Ann.

The show was a "first" in breaking the legal barriers
which kept young children from appearing on TV
programs originating from New York. A city ordi-
nance prohibited the use of children under six years

Watching the action-
packed life of criminal
lawyer, Mike Karr, has
speeded up the heartbeat
of millions of afternoon
viewers. Here's how
the show is produced

MIKE KARR

(John Larkin)

ght) as junior partner to dynamic lawyer-widower Mike Karr (left).

of age on live TV, and this was interpreted as apply-
ing to taped scenes. Through the efforts of one of the
show's producers, the law now permits young chil-
dren to appear in scenes taped under the precautions
taken on The Edge Of Night. These include the con-
stant presence on set of a registered nurse and all
equipment necessary for a child's health and comfort,
including a crib and bottle-warmer. Larkin's daugh-
ter Victoria dees her scenes as Laurie Ann earlier
on the day of the broadcast, "ad-libbing" them like
a veteran, and is back in her own home by the time
these scenes are inserted in the live performances of
her elders.

One question naturaP.y arises about this action -
packed program. Is it sometimes too stark in its treat-
ment, a shade too violent? The answer would seem to
be no. "By its very nature, the telling of our kind of
story must include some suggestions of violence,"
executive producer Wallace explains. "Our main
character is a lawyer who comes into contact with

Continued

MATTIE GRIMSLEY
(Peggy Allenby)

WINSTON GRIMSLEY

(Walter Greaia)

►

The Edge of Night, CBS-TV, Monday through Friday, from 4:30
to 5 P.M. EDT, is sponsored by Procter & Gamble and others.

DAY BY DAY ON

FRANCES KISH

Don Wallace, executive producer of the show for
the advertising agency, Benton & Bowles, says: "From
the beginning, The Edge Of Night was conceived as
unique among daytime serials because it is melo-
drama rather than drama. As we see it, melodrama
is largely external conflict. Drama is internal con-
flict. Although drama and romance enter into melo-
drama, there is a stronger emphasis on action."

Watching the action-
packed life of criminal
lawyer, Mike Karr, has
speeded up the heartbeat
of millions of afternoon
viewers. Here's how
the show is produced

r^^^B

»«=*«* 11

MIKE KARR

(John Larkin)

Marjorie Gibson is proud of brother Ed [at

;>,!

right) as junior partner to dynamic lawyer-widower Mike Karr (left)

of age on live TV, and this was interpreted as apply-
ing to taped scenes. Through the efforts of one of the
show's producers, the law now permits young chil-
dren to appear in scenes taped under the precautions
taken on The Edge Of Night. These include the con-
stant presence on set of a registered nurse and all
equipment necessary for a child's health and comfort,
including a crib and bottle-warmer. Larkin's daugh-
ter Victoria does her scenes as Laurie Ann earlier
on the day of the broadcast, "ad-libbing" them like
a veteran, and is back in her own home by the time
these scenes are Inserted in the live performances of
her elders.

One question rmturaJ'.y arises about this action-
packed program. Is it sometimes too stark in its treat-
ment, a shade too violent? The answer would seem to
be no. "By its very nature, :he telling of our kind of
story must include some suggestions of violence,"
executive producer Wallace explains. "Our main
character is a lawyer who ;omes into contact with

MATTIE GRIMSLEY

(Ptaay Alltnby)

WINSTON GRIMiLtY
(Walltr Gitata)

4 onlinued

►

The Edge nl Night, CBS-TV, Monday through Friday, from 4 i3fl
■ M Mil. i- ipomored by Procttl 1 Gamble liul othei

flta

WILLY BRYAN

(Ed Holmes)

DAY BY DAY ON

THE

EDGE
OF

NIGHT

JUDY GIBSON

(Joan Harvey)

MARJORIE GIBSON

(Karen Thorsell)

.■MSf

ED GIBSON

(Larry Hagman)

AUSTIN JOHNSON

(Lawrence Weber)

criminals of all types. Things are bound to happen.
But they belong in a show like ours.

"We don't dodge strong scenes when they are an
integral part of the story line. But we do try to
suggest — rather than depict — unpleasant scenes. We
are always cognizant of the women and children in
our audience." However, Larkin — usually the soul of
discretion on camera — once caused a minor crisis
when he ad-libbed an expletive! It happened on that
fateful day when Mike's wife, Sara Karr, was run
down by an automobile while saving little Laurie
Ann's life. Mike and Willy Bryan were waiting for
the ambulance to take Sara to the hospital. Larkin,
as Mike, was so carried away by the emotional impact
of the scene that he said, quite clearly, "Where the
hell is that ambulance?"

"All of us in the control room froze," Wallace re-
calls. "I don't think Larkin was even aware of what
he had done. And the viewers must have taken it in
stride, realizing that, to a man like Mike Karr, those
moments must have been literally a hell. We got only
one complaint that I know of."

The Edge Of Night is a swiftly-paced show. "We
move the story fast, with just enough 'recap' (re-
capitulation, or synopsis, of what has happened in
preceding scenes) . We realize that many people can-
not watch every day. Mothers of families take the.
children to dancing classes, music lessons, Scout
meetings, shopping. Or they are busy with their own
work or errands. So we fill in a little for what they
may have missed."

Those responsible for the show believe that the
reasons women watch daytime programs are not very
different from the reasons they watch at night. "We
try to provide good, solid entertainment. We don't
attempt to psychoanalyze the audience. We don't
probe all their emotional responses. If we did, we
might end up by pleasing hobody. The results seem
to indicate that we are pleasing a great many view-
ers," says Wallace.

Karr has been called one of the "last angry men."
He is idealistic but tough. Outspoken, stubborn,
honest. Utterly incorruptible. Unwilling to compro-
mise with any aspect of criminality. "Mike is a guy

-•-•■- -

'•J

LOUISE CAPICE

(Mary K. Welts)

PHILLIP CAPICE

(Ray MacDonnell)

Larkin's own daughter Victoria plays Laurie Ann Karr!

who never gives up. He represents what all of us
would like to be, if we had the courage. There are
men like him, but not too many."

Now that he is a widower, women are understand-
ably attracted to Mike romantically. How vulnerable
he is, how much his endearing small daughter and
his work can fill his life, is the show's own secret.
Whatever does happen will evolve as a natural out-
growth of the turns the story takes, not as a carefully
premeditated plot line.

The Edge Of Night went on the air for the first
time April 2, 1956 — one of the first half-hour day-
time serials. As The World Turns, also a half-hour,
made its debut the same day. No one was sure, at
the time, that women would give thirty consecutive
minutes to watching, with all the competition of
children and home duties and ringing doorbells and
telephones. Now many viewers say they wish it were
longer. People who work on the show have grown
very fond of it. Many of them are now "old timers,"
including the star himself and two of the three
original cameramen.

Wallace, now executive producer, was the first
director. He came to TV originally from a background
of radio work which began in the late 1940s, after
his active Army service during World War II. He
directed for Benton & Bowles such radio favorites
as Wendy Warren, Perry Mason, When A Girl Mar-
ries, Life Can Be Beautiful. In the early 1950s, he
moved over into TV. Since putting a dramatic TV
serial together is a little like gathering up all the
sounds of a choir and timing them in unison, his
musical background has undoubtedly been helpful —
he is organist and choir director at his community
church, where his wife Peggy serves as contralto
soloist.

Do their three sons (thirteen, ten and seven) faith-
fully follow the show Dad produces five days a week?
It would be nice to say they do, but not strictly ac-
curate. Little League baseball (Don is manager of a
local team) and other sports somehow seem to inter-
fere. The Edge Of Night can't always count them
among its viewers — a whopping big audience, inci-
dentally, which numbers close to ten million!

DAY BY DAY ON

JUDY GIBSON

(Joan Harvy)

MARJORIE GIBSON
(Kafn Thorfll)

criminals of all types. Things are bound to happen.
But they belong in a show like ours.

"We don't dodge strong scenes when they are an
integral part of the story line. But we do try to
suggest — rather than depict — unpleasant scenes. We
are always cognizant of the women and children in
our audience." However, Laikin — usually the soul of
discretion on camera — once caused a minor crisis
when he ad-libbed an expletive! It happened on that
fateful day when Mike's wife, Sara Karr, was run
down by an automobile while saving little Laurie
Ann's life. Mike and Willy Bryan were waiting for
the ambulance to take Sara to the hospital. Larkin,
as Mike, was so carried away by the emotional impact
of the scene that he said, quite clearly, "Where the
Jiell is that ambulance?"

■<r; ut

Larkin's own daughter Victoria plays Laurie Ann Kar

AUSTIN JOHNSON

(Lawrence Weber)

The Edge Of Night is a swiftly-paced show. "We
move the story fast, with just enough 'recap' (re-
capitulation, or synopsis, of what has happened in
preceding scenes) . We realize that many people can-
not watch every day. Mothers of families take the
children to dancing classes, music lessons, Scout
meetings, shopping. Or they are busy with their own
work or errands. So we fill in a little for what they
may have missed."

Those responsible for the show believe that the
reasons women watch daytime programs are not very
different from the reasons they watch at night. "We
try to provide good, solid entertainment. We don t
attempt to psychoanalyze the audience. We dont
probe all their emotional responses. If we did, we
might end up by pleasing rwbody. The results seem
to indicate that we are pleasing a great many view-
ers," says Wallace.

Karr has been called one of the "last angry men.
He is idealistic but tough. Outspoken, stubborn,
honest Utterly incorruptible. Unwilling to compro-
mise with any aspect of criminality. "Mike is a guy

who never gives up. He represents what all of us
would like to be, if we had the courage. There are
men like him, but not too many."

LOUIS! CAPICE
(Mary K. W,lh)

PHILLIP CAPICE

(Ray MacDonntll)

Wallace, now executive producer, was the first
director. He came to TV originally from a background
of radio work which began in the late 1940a, after
his active Army service during World War II. He
directed for Benton & Bowles such radio favorites
as Wendy Warren, Perry Mason, When A Girl Mar-
ries, Life Can Be Beautiful. In the early 1950s, he
moved over into TV. Since putting a dramatic TV
serial together is a little like gathering up all the
sounds of a choir and timing them in unison, his
musical background has undoubtedly been helpful —
he is organist and choir director at his community
church, where his wife Peggy serves as contralto
soloist

Do their three sons (thirteen, ten and seven) faith-
fully follow the show Dad produces five days a week?
It. would be nice to say they do, but not strictly ac-
curate. Little League baseball (Don is manager of a
local team) and other sports somehow seem to inter-
fere. The Edge Of Night can't always count them
among its viewers— a whopping big audience, inci-
dentally, which numbers close to ten million!

Arnold Stang's high-decibel
tones send strong and
clear from the back fence
for a lovable backslid feline

At home in Bel-Air with wife JoAnne, son David

and daughter Deborah, Arnold is — excuse the expression! —

"top dog." On TV, he's the voice of Top Cat, as

seen on opposite page lionizing a spellbound cartoon pal.

■ Arnold Stang, the funny little man with the famous
falsetto, takes on a new job this fall as the voice of a battling
big-city feline known as "Top Cat" or "T.C." to his
furry friends in the ashcan set. Stang, who weighs in at
106 and stands five-three, has parlayed this unprepossessing
exterior and unique voice into a steady success as an
actor-comedian. With oversize lens-less glasses ("Who
needs glasses?") perched on his parrot-like nose, Stang has
panicked the customers on TV and in movies — enacting
roles sometimes requiring comedy facility, sometimes
dramatic talent in touching characterizations. . . . Movie-goers
may recall him best for his superb acting as Sparrow, the
little punk who was Sinatra's sidekick in "The Man
with the Golden Arm." TV viewers will probably recall him
as the stagehand who regularly frustrated the star on
The Milton Berle Show. And, on radio, Stang was well
established as Seymour on The Goldbergs. In more recent
years, he did a regular comedy stint on Bert Parks'
Bandstand show, sandwiched in with numerous dramatic
roles on major TV shows. . . . Top Cat is a new cartoon
animal comedy series from the Hanna-Barbera studio, which
originated that successful Stone Age romp, The Flintstones.
Along with "T.C." Stang, there is a roster of famous voices.
Benny the Ball, T.C.'s straight man, has the voice of
Maurice Gosfield of "Doberman" fame. Allen Jenkins talks
for a "human" policeman, Officer Dibble. Fancy Fancy,
a feline Don Juan, is played by John Stephenson. Spook and
Brain — two far-out cool cats— are spoken for by comedian
Leo DeLyon. Choo-Choo, an impetuous torn more daring
than wisdom dictates, is voice-fed by Marvin Kaplan. . . .
With his commitment for this series, Arnold Stang has
moved his family from their home in New Rochelle, near
New York, to the Los Angeles area — a cross-country trek
which represents a change of home and school life for
JoAnne, Arnold's pretty wife, and David Donald, 10, and
Deborah, 9 ... as pictured above with "T.C."

Beginning Sept. 27, Top Cat will be seen on ABC-TV, Wednesdays, 8:30
P.M. EDT, as sponsored by Bristol-Myers Company and the Kellogg Co.

THE PRIVATE LIFE

OF A PRIVATE EVE

An intimate story about
Van Williams, the
SurfSide 6 star, by the
lady who knows him best

Love of my Nina (above)
brought Van and me together!

by MRS. VAN WILLIAMS

as told to Ruth Harvey

People may shrug it off as wifely prejudice if I say I think Van
Williams is terrific as a private- eye on SurfSide 6 — but watch
the eyebrows go up when I say Van and I don't always see
eye-to-eye in private life! For instance, you don't have to look
twice to see we're expecting an addition to our family pretty
soon. And that's one of the things we don't agree on. For Van is
excitedly rooting for a boy, and I'd like a girl!

But come what may, we'll all be delighted — including my
four-year-old daughter, Nina. We're so busy getting ready for
the event that we haven't even thought much about a name for
her — or him. For one thing, every spare moment Van has had
away from Warner Bros, studio, we've spent scouting around
for a new home. And we found it — a beautiful three-bedroom
house high up in the mountains in Pacific Palisades with a huge
yard, and quail and mountain deer all around us. And a breath-
taking view that extends to the Pacific Ocean. So when the
new member of the Williams family arrives, later this year,
we're ready to welcome him (or her ) .

Van, Nina and I are so happy and excited about the baby and
the thought of buying a new home that it's hard for me to
believe that, two short years ago, Van and I were reluctant to
even date one another!

We met very casually in February, 1959, when a mutual friend
introduced us at State Beach in Santa Monica. I didn't pay
too much attention to him, other than thinking, He seems to be
a nice guy. Frankly, I wasn't in the mood to be interested in
anyone. At that time, Nina was two years old and I had just been
divorced. The main things on my mind were to spend as mUch
time with Nina as possible and to decide whether or not I'd go
back to teaching schdol in the fall. Before my marriage, I'd
graduated from U.C.L.A. and taught physical education to junior
high school students.

So Nina and I went to the beach often. And Van, who hadn't
then been signed by Warner Bros., was a constant beach-goer.
We became friends — just plain good, casual friends. He'd been
born and brought up on a ranch near Fort Worth, Texas. We
both were athletic but enjoyed different sports. I love to ski,
surf-board and play tennis. He prefers skin diving, body surfing
and hunting. He had made All-American in football in high
school and was a track star.

Van had won a football scholarship to Texas Christian University,
which greatly pleased his father — a rancher with oil and real-
estate holdings who, as "Blackie" Williams, had been an All-
Conference star at the same university. But, during his freshman
year, young Van eloped with a coed. He and his wife had
twin daughters, Lisa and Lynne, before their marriage ended
in divorce in 1956. His former wife has remarried and lives in the
East. His little daughters visit him each summer.

After his divorce, Van left college to go to Hawaii, where he
taught skin diving for a brief period before returning to school.

Continued w

26 Van is Ken Madison in SurfSide 6, seen on ABC-TV, Mon., 8:30 to 9:30 P.M. EDT, under multiple sponsorship.

THE PRIVATE LIFE

OF A PRIVATE EYE

(Continued)

*f '

Van wants a boy. I want a girl.

At four, Nina — happy in Van's loving arms

— doesn't care if it's brother or

sister. She just wants us to have a baby.

it»1wtf''

Now three, we're expecting a fourth member soon.

It was in Hawaii that Van met Mike Todd's publicity
man, Bill Watters, who urged him to try acting as a
career. After Van got his degree from Texas Chris-
tian, in 1958, he headed for California and, within
a short time, got a few small roles on General
Electric Theater, Colt .45 and Lawman. Then came
his contract with Warner Bros., in April, 1959, and
his co-starring roles — first in Bourbon Street Beat
and, currently, SurfSide 6.

But I'm getting slightly ahead of our story. What
I wanted to bring out was that, because of what had
happened in our personal lives, neither of us was
interested in the other romantically when we met
in the early part of 1959. But Van became real in-
terested in my daughter, Nina. He was crazy about
her: took her to lunch and splashed around the ocean
with her, while I played bridge on the beach.

Sometimes he'd talk to me about a girl he was
then interested in, back in Texas, and I'd give him
sisterly advice and tell him what to do. She sounded
like a wonderful girl and was planning to come to
California for a visit. But later developments changed
all that. (Happily for everyone concerned! She's now
married to Van's best friend.)

I was occasionally dating a young doctor, and
we kept trying to fix Van up with an attractive girl
so we could all go out as a foursome. And then, one
day while we were surfing at the beach, Van sud-
denly said to me, "We have so much fun, we ought
to go out sometime. How about Saturday night?"
I was so surprised I accepted — and immediately was
sorry.

I remember thinking, I don't really want to go
out with him. He's such a good friend, why take a
chance on spoiling it by dating. I suddenly realized
that, while Van seemed like a likable Irish Texan,
I'd never seen him in anything but a bathing suit.
And then I had the terrifying thought: If he comes
to pick me up in cowboy boots, I'll die!

Later, I found out Van felt exactly the same way.
He told me he'd thought, This gal is a typical beach
addict. I've never seen her in anything but a bathing
suit and a pigtail and no makeup. Sure, she looks
good in a bathing suit. But I wonder how she'll look
in clothes?

Neither of us, however, had the nerve to break
the date. Van has since told me he sighed with
relief when he saw me all dressed up in a beige
silk suit and with my hair up in a chignon. As for
him — he was wearing a black mohair suit and he
looked real rugged and handsome. I thought, Well,
this isn't going to be so bad, after all.

We went to a night club and had a wonderful
time. What impressed me most was that he didn't try

Nina is still a beach-
comber at heart, even indoors in
the home we were so lucky
to find — in sight of the Pacific.

Unanimity here — but Van

and I don't always agree so readily!

to kiss me when he brought me home. And I knew
I wanted to go out with him again. On about our
fourth date, we had a really romantic evening —
candlelight dinner and dancing. I think I realized
then, he could mean more to me than just a friend.
But we both kept pushing it away. Neither of us
wanted to get involved, and yet — we kept dating
pretty steadily.

Then, one evening in April, Van put his arms
around me, kissed me and said, "I love you," and I
almost cried as I said, "Don't ever say that again
unless you're sure." We finally got around to setting
a date to be married in October, at the Wayfarers
Chapel in Palos Verdes.

As time went on, Van asked me one day, "Have
you made all the wedding arrangements?" I said,
"No." And we both got chicken and decided to wait
a little longer. I guess both of us were being overly-
cautious. I had gone through a quick courtship once
before and — well, neither of us wanted to repeat
the mistakes we'd made before.

Came December, and Van had time off from
Warners'. His family wanted us to visit them for
Christmas in Fort Worth. Van packed Nina and me
and a truckload of presents into his car, and off we
went. We had a wonderful five-day visit with his
folks. When we got back from the long and tedious
drive — and we were still speaking to one another—
we figured it must be love. So, without any more
hesitation, we got married four days later (on De-
cember 31, 1959) at the Wayfarers Chapel and
started out the New Year and a new life together.
Now, we're glad our new baby will arrive in time to
help us and Nina celebrate our second anniversary
as a family.

Van and I enjoy our marriage and each other.
We spend most of our free time with Nina at home.

--'

Van loves skin diving, once taught it in Hawaii.

We seldom go out and, when we do, it's mostly to
dinner. Most of our friends are non-professionals
and we lead a quiet life.

At the same time, we have some real dillies of
fights! We both have real quick tempers, but neither
of us is a "seether" or "pouter." If anything bothers
either of us, we get it right off our chest, right now.

Before you know it, we're chattering away and
nobody's mad anymore. So you see — what I said
about our not seeing eye-to-eye, on everything in
our private life, still goes. By the way, what do you
think would be a lovely name for a baby girl?

THE PRIVATE EIFE

OF A PRIVATE EYE

(Continued)

I" '-lIP7 ■

Now three, we're expecting a fourth member soon.

II was in Hawaii that Van met Mike Todd's publicity
man, Bill Walters, who urged him to try acting as a
career. After Van got his degree from Texas Chris-
tian. In 1958, lie headed for California and, within
a short time, got a few small roles on General
Electric Theater, Colt .45 and Lnumuin. Then came
his contract with Warner Bros., in April, 1959, and
his i o starring roles first In Bourbon Street Beat
and, currently, SuriSide 6.

But I'm getting slightly ahead of our story. What
I wanted to bring out was that, because of what had
happened In our personal lives, neither of us was
interested In the other romantically when we met
in the early part of 1959. But Van became real in-
terested in my daughter, Nina. He was crazy about
her; took her to lunch and splashed around the ocean
with her. while 1 played bridge on the beach.

Nino fs still a beach-
comber at heart, even indoors in
the home we were so lucky
to find— in sight of the Pacific.

Van wants a boy. I want a girl.

At four, Nina— happy in Van's loving arms

— doesn't care if it's brother or

sister. She just wants us to have a baby.

Neither of us, however, had the nerve to break
the date. Van has since told me he sighed with
relief when he saw me all dressed up in a beige
silk suit and with my hair up in a chignon. As tor
him— he was wearing a black mohair suit and he
looked real rugged and handsome, I thought, Weil,
this isn't going to be so bad, after all. .

We went to a night club and had a wonderful
time. What impressed me most was that he didn't try

to kiss me when he brought me home. And I knew
I wanted to go out with him again. On about our
fourth date, we had a really romantic evening-
candlelight dinner and dancing. I think I realized
then, he could mean more to me than just a friend.
But we both kept pushing it away. Neither of us
wanted to get involved, and yet— we kept dating
pretty steadily.

Came December, and Van had time off from
Warners'. His family wanted us to visit them for
Christmas in Fort Worth. Van packed Nina and me
and a truckload of presents into his car, and off we
went. We had a wonderful five-day visit with his
folks. When we got back from the long and tedious
drive — and we were still speaking to one another —
we figured it must be love. So, without any more
hesitation, we got married four days later (on De-
cember 31, 1959) at the Wayfarers Chapel and
started out the New Year and a new life together.
Now, we're glad our new baby will arrive in time to
help us and Nina celebrate our second anniversary
88 a family.

Van and I enjoy our marriage and each other.
*»e spend most of our free time with Nina at home.

Unanimity hero but Van

and I don't always agree so readily I

Van love;

We seldom go out and, when wr do, it's mostly to
dinner. Most of our friends are nrn prrmminnill
and we lead a quiet life.

At the same time, we have some real dillics of
fights! We both have real quick tempers, but m-iihi-p
of us is a "seether" or "pouter." If anything bothers
either of us, wc get it ritfht oil our chest, right now.

Before you know it, we're chattering away and
nobody's mad anymore. So you see — what I .ml
about our not seeing eye-to-eye, on everything in
our private life, still goes. By the way, what do you
think would be a lovely name for a baby girl?

Hawaii

Hmn

The Hard Road to Somewhere

by CHARLES MIRON

■ "The hard road up has to start somewhere. For
me, it almost started with death! I was just a kid
playing in the streets of Philadelphia, when a big
car turned the corner and bore down on me. My
muscles just wouldn't move — I was frozen to the spot.
At the last minute, some force seemed to propel me
out of the way. All I could do, for the next hour, was
thank my lucky stars I was still alive." . . .

Anthony Eisley also recalls a more recent near-
miss with death. "We were shooting an Hawaiian Eye
segment, and I was supposed to be going at a pretty
fast clip in a racing car. Suddenly,
the car spun out of control and
careened all over the place until
we headed straight for a tele-
phone pole. I couldn't do a thing
about it, except pray for a 'minor'
accident." He barely remembers
flying glass, and the awful feeling
of being thrown toward the wind-
shield while everything about him
shattered. He does remember land-
ing hard on one of the seats and
waiting for studio aides to pull him
out.

Tony is a big investment for
Warners' and they sweated it out
for a long, dangerous minute before
he came up smiling. But, for Tony,
it brought back memories of the
years when no one cared whether
a hundred cars smashed him to the
ground. ...

To a boy from Philadelphia,
Broadway is only a short hop by
train. For Fred Eisley, as he was
known then, his first sight of actors
having a grand time on-stage com-
pletely hooked him. He was eleven
years old, and all the world was a
stage. The hard facts of life were
stuffed down his throat a few years
later, when he took that same train
ride again. Now, in place of the awestruck boy there
was an eager 23-year-old who came to conquer. But
Broadway was not to be conquered so easily . . . not
by a "juvenile" who was just a little better looking
than most.

Tony says, "It gets colder in New York than any
other place in the world — especially, to an actor who
hears the words, 'Sorry, no casting today.' " The whole
paradox of his situation dawned on him, one chill
winter night. Here he was, living in a cold-water
flat on New York's West Side, with no food in his
stomach, his money running out again, no job pros-
pects in sight — and people were telling him to come
back "when he'd done something big." Then fate

Anthony Eisley, now a
"hot" Warner contractee,
recalls the years when
the cold winds blew

played a hand, as she sometimes does when an actor
is about to throw in the sponge. "I heard they were
casting 'Picnic,' a play by William Inge to be directed
by Josh Logan, the great Broadway director. I went
down, read for the part of the rich boy, and got the
next best thing — understudy to Paul Newman."

After a good run, the "Picnic" was over and Fred
was once again standing on the unemployment line.
Only, this time, it was worse . . . because, during the
run of the show, he had married a pretty girl named
Judy . . . "and we were expecting our first child.
Things looked worse than they did
even before 'Picnic' had come
along." The baby, a bouncing boy
they named David, made him a
man with responsibilities. Fred
made the rounds with more fire in
his eye than ever before. But, out-
side of a few small parts on TV,
nothing came up to ease his finan-
cial problem.

Then, one day, he ran into Joanne
Woodward, who had also been an
understudy with "Picnic." She
painted a bright picture of oppor-
tunities for actors on the West
Coast Fred — now father of two,
with little Nancy, born in 1955 —
had a long talk with Judy about
their situation. "Why not?" Judy
urged. "You're a good actor, and
nothing's happening for you here.
Maybe our luck will change in
Hollywood. . ."

"At first," Tony says, "it was New
York all over again, only with sun-
shine thrown in. Then, like some
kind of miracle, things began to
happen and the cloud of despond-
ency I'd been living under began
to lift I got called in to read for
the Hawaiian Eye series and the
part of private-eye Tracy Steele.
When Warners' called and told me I was Tracy Steele,
I was so happy I could have cried." But tears were not
to come, not on that day, nor the first time he saw his
image flashed on the screen in Warner Bros.' hot new
series. He came off strong, and the reviews were good.
People on the street began to recognize him, and they
gave him a warm greeting that made him realize he
had finally made it.

When they asked: "Hey, Tony, how's it feel to be
sitting so pretty on the road to success?" . . . Fred
Eisley — whom the producers had renamed Anthony
Eisley for greater box-office appeal — could only look
at them with a grin that spoke louder than words . . .
and answer, heartily and simply, "It feels good."

Anthony Eisley (pictured on facing page with his wife Judy) co-stars in Hawaiian
Eye, seen over ABC-TV, Wed., from 9 to 10 P.M. EDT, under multiple sponsorship.

■

LJk

by JOSEPH H. CONLEY

SHE'S PERT!

SHE'S SAUCY!

SHE'S MARGIE!

Ouote: "We looked for that indefinable quality. We wanted
that 'pretty girl next door' who was undeniably cute but not
beautiful. We needed a personality who exuded life and vigor
and who would be able to act, sing and dance her way into the
hearts of ordinary Americans." To achieve this goal, the
veteran comedy-writing team of Hal Goodman and Larry Klein
looked at hundreds of girls, screen-tested sixteen — and the
search was over! Cynthia Pepper was 100% Margie, the new
teen-age heroine on ABC-TV.

Cynthia began life "in a theater trunk." Her father was Jack
Pepper, the comedian, and her mother was a former Billy
Rose show-girl. They traveled a great deal; "Cindy" figures
she lived in twenty-five states during her first few years. You
might say she was weaned on comedy, in a home always
filled with top entertainers.

She attended elementary school in Texas, then returned to
Hollywood — her birthplace — in time for junior high. Though
strictly a student, she majored in drama at Hollywood High
and had principal roles in many school productions. Upon
graduation, she set her sights on an acting career. She studied
singing and dancing, became a private pupil of Miss Eda
Edson, famed coach of Mary Martin and others.

A year ago last Easter, Cindy had "the biggest break" of
her young life. At nineteen, she married the guy of her dreams,
Buck Edwards. He worked in the production office at Warner
Bros., she was a "girl Friday" with a small printing firm.
But her ambitions were still theatrical, and Buck was all for
it. One day, when they were "old marrieds" of about three weeks,
he called from the studio. "Cindy," he said, "something has
come up and we may be able to get you your first TV job.
An actress, just your size, has become ill and had to be sent home.
I told the director about you and he said to have you on the
set in fifteen minutes. The catch is — you have to fit the dress!"

Our modern-day Cinderella made it to the set on time,
wiggled her 34-23-34 measurements neatly into the costume —
and memorized six pages of dialogue on the spot. This role
in Bourbon Street Beat was Cindy's first break. Later, she got
a semi-regular role on My Three Sons, as Tim Considine's
girlfriend. "That was my second break," she says. "And I must
be the luckiest girl alive to have got the third one. Mr. Goodman,
one of the producers of Margie, saw me on one of those shows
and decided to test me. Sometimes I feel I should pinch
myself to make sure I'm awake!"

She's awake, all right. People at 20th Century-Fox who have
watched her work say that's exactly why she was chosen: "She
seems to match the exuberance of the '20s" — a lively decade
brimming over with dance crazes, "big" sports cars, big-time
vaudeville, silent movies, crystal-set radio, and public idols
who dared to be different.

On TV's Margie, you'll meet — along with Cynthia — Dave
Willock as her bumbling but well-meaning father; Wesley
Tackitt as her understanding mother; Billy Hummer as her
little brother; Penney Parker as her giddy chum; Tommy Ivo
and Richard Gering as two boyfriends; and sprightly Hollis
Irving as her flapperish Aunt Phoebe.

Dimples light Cindy's face when she's asked if she has any
great desires outside show biz: "You betcha — we want to see
Europe!" If Margie is as successful as Cynthia is cute, Paris
will surely see one happy couple on a belated honeymoon.

Beginning October 12, Margie will be seen on ABC-TV, Thursdays, 9:30 P.M. EDT, sponsored by Procter & Gamble.

Art's first attempt to charm the night-time custo: §

Harrah for

Linkletter!

■ Harrah's that is, where Art Linkletter had his first taste of hamming it up for
the customers three times a day in a night-club atmosphere. They loved it.
And don't pity Art, either. It made a nice vacation for him, since it is a
notoriously well-known fact that night clubs do not operate during "the day. This
gave him a wonderful opportunity to get into the waters of Lake Tahoe for
swimming and other water sports, including water skiing on one ski! Art —
who has always made a point of keeping in good condition and is still a fine
athlete — had his forty-ninth birthday during his stay at Tahoe. And to make
family fun even greater, daughter Dawn Zweyer's twins, Kevin and James,
were around to celebrate their first birthday. . . . Art — who'd originally booked
into Harrah's more or less for the fun of playing to audiences for money,
after his years of charming free audiences on TV with House Party and People
Are Funny — found the experience fascinating. He admitted to columnist
Hedda Hopper, however, that "three shows a night, with the last one at 2: 30 A.M.,
has cooled my enthusiasm." When it comes to enthusiasm, Art finds more
in just being grandfather to daughter Dawn's twins and the sons of Jack — his
oldest boy. Jack, who was back in Hollywood standing in for Pop during
this night-club-vacation trip, announced on the show that Art will be
a grandfather again within the year. "February 24 at 4: 30 P.M.," says Jack
proudly. So Art, who was named Grandfather of the Year in 1961, may be
able to defend his title in '62 — and find other show-biz worlds to conquer!

ve him day time to charm his one-year-old grandsons

INKLETTER

E BROTHERS
rYBEE'GLORIAGREYj

( DORBEN DANCERS

A camera hound, when he has the spare
time, Art takes snapshot of wife Lois. He
claims she's best family photographer.

ATELINE LOUNGE

AY ANTHONY

» HIS BOOKENDS

ITHUR ELLEN
JACK ROSS

On porch of lakeside cabin at Tahoe,
Art and Lois prepare to leave for water-
skiing expedition on Art's 49th birthday.

When Linkletter booked for his -first night-club
appearance at Harrah's Club, Lake Tahoe, the big question
was, "What's he going to do?" No singer, no
dancer, Art did what came naturally when he traded
quips with members of the audience — and wowed 'em!

Continued k

Art* first attempt to charm the night-time custonL^ him day time to charm his

one-year-old grandsc

Harrah for

Linkletter!

■ Harrah's that is, where Art Linkletter had his first taste of hamming it up for
the customers three times a day in a night-club atmosphere. They loved it.
And don't pity Art, either. It made a nice vacation for him, since it is a
notoriously well-known fact that night clubs do not operate during the day. This
gave him a wonderful opportunity to get into the waters of Lake Tahoe for
swimming and other water sports, including water skiing on one ski! Art—
who has always made a point of keeping in good condition and is still a fine
athlete— had his forty-ninth birthday during his stay at Tahoe. And to make
family fun even greater, daughter Dawn Zweyer's twins, Kevin and James,
were around to celebrate their first birthday. . . . Art— who'd originally booked
into Harrah's more or less for the fun of playing to audiences for money,
after his years of charming free audiences on TV with House Party and People
Are Funny — found the experience fascinating. He admitted to columnist
Hedda Hopper, however, that "three shows a night, with the last one at 2: 30 A.M.,
has cooled my enthusiasm." When it comes to enthusiasm, Art finds more
in just being grandfather to daughter Dawn's twins and the sons of Jack — his
oldest boy. Jack, who was back in Hollywood standing in for Pop during
this night-club-vacation trip, announced on the show that Art will be
a grandfather again within the year. "February 24 at 4:30 p.m.," says Jack
proudly. So Art, who was named Grandfather of the Year in 1961, may be
able to defend his title in '62 — and find other show-biz worlds to conquer!

When Linkletter booked for his first night-club
appearance at Harrah's Club, Lake Tahoe, the big question
was, "What's he going to do?" No singer, no
dancer, Art did what come naturally when he traded
quips with members of the oudience — and wowed em!
fonlinmed

Harrah for Linkletter!

(Continued)

An enthusiastic athlete, Art gets preliminary
briefing on water skiing from boat captain John Ward.
While Tahoe is a fisherman's paradise, with
fourteen lakes in the vicinity, Linkletter is no angler,
preferred the active sports, swimming and skiing.

fcrfin

The Tahoe stay saw lots of birthday celebrations for the Linkletters.
Art himself celebrated his in quiet fashion but when it came to the very first birthday
of grandsons Kevin and James Zweyer, twin sons of daughter Dawn and Air
Force Lieutenant John Zweyer, a special party was in order. "Don't grab, fellas."

Ready for the takeoff. Art is about to try diffi-
cult feat of skiing on one water ski. Along for the
ride: John Ward, boat captain, Lois Linkletter,
Miss Wynn Keith, who represents one of Art's
companies in New York, and John Nicholson, a
Tahoe acquaintance. Now look below, right . . .

End of a perfect day. Sunset gathering on porch of cabin

overlooking blue Lake Tahoe. Or, perhaps we ought to

say end of a perfect day for everybody but Art. He still had

to get down to Harrah's Club and get to work. This is work?

He made it! While Art had no trouble at
all with two-ski ride, his comment on the single-
ski sport was, "Only half as many skis,
but it's sure five times as difficult to do."

Art Linkletter's House Party is seen on CBS-TV at
2:30 P.M. EDT— heard on CBS Radio at 11 :10 A.M.—
Monday through Friday, under multiple sponsorship.

Harrah for LinMetter!

(Continued)

An enthusiastic athlete, Art gets preliminary
briefing on water skiing from boat captain John Ward.
While Tahoe is a fisherman's paradise,_ with
fourteen lakes in the vicinity, Linkletter is no pngler,
preferred the active sports, swimming and skiing.

End of a perfect day. Sunset gathering on porch of cabin

overlooking blue Lake Tahoe. Or, perhaps we ought to

say end of a perfect day for everybody but Art. He still had

to get down to Harrah's Club and get to work. This is work?

The Tahoe stay saw lots of birthday celebrations for the Linkletters
Art himself celebrated his in quiet fashion but when it came to the very first birthdav
of grandsons Kevm and James Zweyer, twin sons of daughter Dawn and Air
Force Lieutenant John Zweyer, a special party was in order. "Don't grab fellas "

He made it! While Art had no trouble at
all with two-ski ride, his comment on the single-
ski sport was, "Only half as many skis,
but it's sure five times as difficult to do."

Art Linkletter's House Party in seen on CBS-TV at
2:30 P.M. EDT— heard on CBS Radio at 11 :10 A.M.—
Monday through Friday, under multiple nponsorihip.

JL%

DIANA HYLAND:

MWUc

by ALICE FRANCIS

■ People tell her she looks like Garbo. But,
unlike most actresses, she says uncomplimentary
things about herself. "One director told me I
ought to do something about my voice. "He
thought it was pretty bad. Another said it had
a Katharine Hepburn quality. I can't see why
everyone has to be compared with someone else."

This is Diana Hyland speaking, a beautiful
blue-eyed blonde who started by winning a con-
test at fifteen . . . later won a lead in an im-
portant nighttime drama, her first time on TV
. . . was featured on Broadway in "Look Back in
Anger" and "Sweet Bird of Youth" . . . and is
now seen regularly on daytime TV as Gig
Houseman Malone in Young Doctor Malone.

In Cleveland Heights, Ohio, where Diana was
born and went through school, she never tried
out for any of the school plays. "I simply wasn't
stagestruck," she says. But she finally headed
toward a theatrical career almost by accident.
Hy Peskin, the noted photographer, asked the
society editor of a Cleveland paper to suggest
a young local beauty he might photograph for a
contest being sponsored by Paramount Pictures.

It was fifteen-year-old Diana who posed. And
it was Diana who won a trip to New York City,
chaperoned by her mother. At the time, of course,
there was also some possibility of a movie con-
tract But her mother felt it wiser for her young
daughter to go home and study.

After several years of study with a good drama
teacher in Cleveland, ft was decided Diana might
be ready to try New York — which she did, living
discreetly at a girls' residence club where she
had a part-time job running the switchboard.
The rest of the time, she kept busy storming the
offices of agents and producers. And, one splendid
day, she won the lead in a TV drama on Robert
Montgomery Presents!

This was followed by summer stock, other TV
and Broadway roles. Diana's dramatic career
zoomed. Then, as can happen in the theater
world, she found herself in a struggle — there
seemed to be no jobs to be had. Diana says of
this period, "It was a ghastly time for many

Young Dr. David Malone (John Connell)
changed "Miss Houseman" to a "Mrs." — on TV!

Fascinated, day-to-day viewers

watch the roniance build

on Young Doctor Malone.

Here's the Gig-Diana charmer

who's ruffling the plot each day

actors. I ended up working in an art gallery as
a kind of assistant to the director. I had a little
art background and could talk reasonably in-
telligently to clients." Then the tide suddenly
turned again, and Diana was tapped for roles in
two shows on WNTA's Play Of The Week series.
At the same time, she was offered the role of
Gig in Young Doctor Malone, a part she finds
interesting and rewarding.

Today, Diana is a confirmed actress and New
Yorker, living in a brownstone-house apartment
with high ceilings and shuttered windows. She
loves the shutters, dislikes the inadequate kitch-
en, loves to bake, finds the cooking facilities
frustrating. Music is her recreation. "I listen to
music. I blare out music. I go to the opera. And
I play the French horn — I'm sure to the horror
of my neighbors!"

About romance, Diana shrugs her shoulders.
"Career women are hard to please," she admits.
Meanwhile, in Young Doctor Malone, Gig is find-
ing romance a-plenty. Maybe it will rub off on
Diana, who plays the role so sympathetically.

Young Doctor Malone is seen over NBC-TV, M-F,
3 to 3:30 P.M. EDT, under multiple sponsorship

DIANA HYLAND:

MM^

by ALICE FRANCIS

■ People tell her she looks like Garbo. But,
unlike most actresses, she says uncomplimentary
things about herself. "One director told me I
ought to do something about my voice. He
thought it was pretty bad. Another said it had
a Katharine Hepburn quality. I can't see why
everyone has to be compared with someone else."

It was fifteen-year-old Diana who posed. And
it was Diana who won a trip to New York City,
chaperoned by her mother. At the time, of course,
there was also some possibility of a movie con-
tract. But her mother felt it wiser for her young
daughter to go home and study.

After several years of study with a good drama
teacher in Cleveland, ft was decided Diana might
be ready to try New York— which she did, living
discreetly at a girls' residence club where she
had a part-time job running the switchboard.
The rest of the time, she kept busy storming the
offices of agents and producers. And, one splendid
day, she won the lead in a TV drama on Robert
Montgomery Presents'.

This was followed by summer stock, other TV
and Broadway roles. Diana's dramatic career
zoomed. Then, as can happen in the theater
world, she found herself in a struggle— there
seemed to be no jobs to be had. Diana says of
this period, "It was a ghastly time for many

Young Dr. David Malone (John Connell)
changed "Miss Houseman" to a "Mrs." — on TV!

Fascinated, day-to-day viewers

watch the roiriance huild

on Young Doctor Malone.

Here's the Gig-Diana charmer

who's ruffling the pldt each day

actors. I ended up working In an art gallery as
a kind of assistant to the director. I had a little
art background and could talk reasonably In-
telligently to clients." Then the tide suddenly
turned again, and Diana was tapped for roles in
two shows on WNTA's Play Of The Week series.
At the same time, she was offered the role of
Gig in Young Doctor Malone, a part she finds
interesting and rewarding.

Today, Diana is a confirmed actress and New
Yorker, living in a brownstone-hoUse apartment
with high ceilings and shuttered windows. She
loves the shutters, dislikes the Inadequate kitch-
en, loves to bake, finds the cooking facilities
frustrating. Music is her recreation. "I listen to
music. I blare out music. I go to the opera. And
I play the French horn — I'm sure to the horror
of my neighbors!"

About romance, Diana shrug* her shoulders.
"Career women are hard to please," she admits.
Meanwhile, In Young Doctor Malone, Gig Is find-
ing romance a-plenty. Maybe it will rub off on
Diana, who plays the role so sympathetically.

Young Uiirinr Mnlnnt in ieen ovtr NBC-TV, M-F,
8 to 8:80 I'M. EOT, undrr multiple ipoiMOMhlp

NEW MDIENCE

by HELEN BOLSTAD

■ The news from the rating bureaus was good. As
Breakfast Club entered its twenty-ninth year, it had
the largest number of listeners of any morning show.
Further, ABC Radio proudly announced, most of them
were "young adults," that audience sponsors seek be-
cause they have new houses to furnish, new babies to
feed, new clothes to buy for children in school.

The rating gain, the network theorized, was due to
the adoption of a lively new format. But toastmaster
Don McNeill had another explanation. The changes, he
stated, were largely technical. A more potent, human
factor had been at work. "Kids who first listened to
Breakfast Club in their own homes are married now.
These young housewives are discovering the show all
over again."

An illustration of this came when a Girl Scout troop
from Pontiac, Michigan, visited the show at the College
Inn in Chicago. One little girl attached a number of
threads to her questionnaire card and wrote: "Which
string do I pull to get on the program?" Calling her to
the stage, Don asked: "How did you get this idea?"
The child giggled: "I didn't, really. My mother remem-
bered that some one did the same thing on Breakfast
Club about fifteen years ago."

Another girl who grew up with the Breakfast Club
habit is Mary Anne Luckett, the show's new vocalist.
Mary Anne was born in Louisville, Kentucky, Septem-
ber 25, 1934, the daughter of Martin and Ruth Luckett.
This dark-haired beauty was staff vocalist at WHAS-TV
when Sam Cowling, the show's comedian, visited his
mother in nearby Fern Creek last spring. Sam, also
doing a bit of talent scouting, asked his mother, "Who's
singing good around here?" A TV fan, she suggested he
hear Mary Anne.

Mary Anne recalls, "When he said he was Sam Cowl-
ing, I first thought I was getting one of those phoney
phone calls. When he asked me to send in an audition
tape, I flipped! Even as a little girl, I used to dream of

Still going strong in its 29th year! That's
Breakfast Club, radio's mightiest morning
show — now entrancing the second generation

Continued

Don McNeill and Sam Cowling say each day with Breakfast Club audiences is a "premiere."

NEW ADDIENCE

by HELEN BOLSTAD

An illustration of this came when a Girl Scout troop
from Pontioc, Michigan, visited the show at the College
Inn in Chicago. One little girl attached a number of
threads to her questionnaire card and wrote: "Which
.string do I pull to get on the program?" Calling her to
the stage, Don asked: "How did you get this idea?"
The child giggled: "I didn't, really. My mother remem-
bered that some one did the same thing on Breakfast
Club about fifteen years ago."

Another girl who grew up with the Breakfast Club
hnbit is Mmy Anne Luckett, the show's new vocalist.
Mary Anne was born in Louisville, Kentucky, Septem-
ber 25, 1934, the daughter of Martin and Ruth Luckett.
This dark-haired beauty was staff vocalist at WHAS-TV
when Sam Cowling, the show's comedian, visited his
mother in nearby Fern Creek last spring. Sam also
doing n bit of talent scouting, asked his mother "Who's
s.nr.mg good around here?" A TV fan, she suggested he
hear Mary Anne.

Mary Anna recalls, "When he said he was Sam Cowl-
mg, I first thought I was getting one of those phoney
phone calls. When he asked me to send in an audition
tape, I fhpped! Even as a little girl, I used to dream of

Still going strong in its 29th year! That's
Breakfast Club, radio's mightiest morning
show-now entrancing the second generation

Continued

on McNeill and Som Cowling toy each day with Brtoicfait Club audience, is a "premiere."

NEW AUDIENCE

singing on Breakfast Club." . . . Meanwhile, the
show has also held its listeners at the opposite end
of the age scale. Almost every studio audience
includes a Golden Age or Grandmothers' Club
which has made the trip to Chicago to see the
people they consider old friends.

While there have been many shows on the air
which have appealed to both the old and the
young, no other program has done so for so long
a period. Breakfast Club is the oldest show in
broadcasting.

What is the secret of its longevity? How can
it be, simultaneously, fresh and yet familiar?

During one of the show's visits to New York,
Don McNeill and his cast discussed the subject
with this writer. It had been many years since we
had seen each other, but time has touched the
Breakfast Club veterans lightly. Don, now fiftyish,
has a slight frosting of gray at his temples and a
line or two in his face, but still stands lean, straight
and tall. Fran Allison, "Aunt Fanny," is pretty as
ever. Sam Cowling has grown an extra chin —
but then, he always had one. Cliff Peterson con-
tinues the rugged Viking.

They are all energetic, vigorous, alert Part of
the secret of the show's youth is the cast's youth-
ful attitude. This was reflected in Don's reply
to the question: "How, when you've been doing

John Gary — new vocalist.

i
i

this same show for so many years, can you keep
from getting stale?"

Don clearly indicated that, from his point of
view, they never do the same show. "Every day is
like a premiere. The audience is different and we
never know who will be there, what they will
write on their cards nor what they will say when
they come to the microphone. Every morning is
a challenge."

Fran said, "It's a challenge to the audience, too.
We notice — particularly during the seasons of the
year when schools are making student trips — that
even the youngest children know the show as well
as we do. Most of them have saved up some joke,
ready to tell in case they are called to the micro-
phone."

One element of change in Breakfast Club is the
vocalists. Fran, who herself first came to the show
as a singer, counted up some fifteen girls. The list
included Marion Marlowe, Betty Johnson and An-

Don McNeill's Breakfast Club is heard on ABC Radio, Monday through

Friu.

Mary Anne Luckett — girl singer from "next door.

ita Bryant She commented, "It's always inter-
esting to see them learn and develop. Some fall in
love and marry. Others go on to star careers. Some
have done both." And Don said, "The boys haven't
done so badly, either. Johnny Desmond, for one,
got his first hit record on Breakfast Club. And,
much as I hated to see Dick Noel go to California,
this new Johnny Gary is going to fit right into the
Breakfast Club family."

A few weeks later, he had proof of just how
well both Johnny and Mary Anne fit in. Mary
Anne, on moving to Chicago, was away from her
parents for the first time and was learning to cook,
and everyone was ribbing her about it. Johnny,
too, spoke of his wife's culinary skill — or the lack
of it. "The first meal she ever served me was ter-
rific. Later, I found out her mother cooked every
morsel of it."

Don chimed in, "Do you know, that happened
to me, too? And we'll never forget the first time

Friday, from 10 to 10:55 A.M. EDT, under multiple sponsorship.

Kay cooked rice! She poured in the whole box
and it ran all over. I tell you, we had more rice
than we had at the wedding."

Mary Anne's voice was almost mousy as she
said, "I did the same thing last night. I didn't
know the kernels multiplied." As she made her
confession, it wasn't difficult to visualize that —
out in what, at the start of Don's career, was
called "Radioland" — many, many a young house-
wife added, "Me, too."

And there you have it. The secret of Breakfast
Club's current appeal, and also of its longevity.
They talk of personal experiences, funny or serious,
which every family shares.

"Aunt Fanny," of course, is beloved Fran Allison.

NEW AUDIENCE

singing on Breakfast CUb' Meanwhile, the

stww has also held its listeners at the opposite tod
of the a«e scale. Almost every studio •«?u«"c»
includes a Golden Age or Grandmothers Club
which has made the trip to Chicago to see the
people they consider old friends.

While there have been many shows on the air
which have appealed to both the old and the
young, no other program has done so for so long
a period. Breakfast CM is the oldest skew in

bcOwPLwaAtim

What is the secret of its longevity' How can
simultaneously, fresh and yet famibar-

During one of the show's visits to New York.
Don McNeill and his cast discussed the subject
with this writer. It had been many years stnee we
had seen each other, but time has touched the
Breakfast Cmfc veterans lightly Don. now fiftyisb,
has a slight frosting of gray at his templss and a
bne or two in his face, but sail stands lean, straight
and tall Fran Allison. "Aunt Fanny," is pretty as
ever. Sam Cowling has grown an extra chin —
but men. he always had one Cliff Peterson con-
tinues the rugged Viking.

They are all energetic vigorous, alert Part of
the secret of the show's youth is the cast's youth-
ful attitude This was reflected in Don's reply
to the question: "How. when you've been doing

'uVs

this same show for so many year*, can you keay
from getting stale *~

Don clearly indicated that, from his point <*
view, they never do the same show "Every day »
like a premiere The audience hi different and w»
never know who wtll be there, what lhj«"
wrtto on their cards nor what way wtll say whsa
they come to the microphone Every morning »
a dialler .

Franaavi .ilenge to the audience wo

We nonce— particularly during the seasons of «*
when school* are making student trip*-*"*:
even the youngest children know the show as ••»
as we do Most of ir. stajd up some J***

ready to tell In case they are called to the rrucT0*

One element of change in Breakfast Club is U*
vocalists. Fran, who >• ■■ came to ***?£

■» • t«iup some fifteen girls Th* •»

• led Manor. Marlowe, Betty Johnson i^w^,

. ■„., *H. lUa^Mas-W*'-*

Mory Anne Lucietf— q>rl singer fr.

ita Bryant She commented. "It's always inter-
esting to see them learn and develop Some fall in
love and marry Others go on to star careers. Some
have done both." And Don said. "The boys haven't
done so badly, either Johnny Desmond, for one,
got his first hit record on Break/art Club. And,
much as I hated to see Dick Noel go to California,
this new Johnny Gary Is going to fit right into the
Break/osi Club family."

A few Creaks later, he had proof of just how
well both Johnny and Mary Anne lit in. Mary
Anne, on moving to Chicago, was ow»y from her
parents foi th. !.,,( tune and was learning to cook,
and everyone was ribbing her about it. Johnny,
too, spoke of his wtfa's culinary skill— or the lack
• maaj -.ti.- ever served me was ter-
. I found out her mother cooked every
morsel of it "

■iumed in, "Do you know, that happened
to m.-. too? And we'll never (orgsl lha first ume

is in M AM Kin. un.iri muldpls inontonhlp.

Kay cooked rice! She poured in the whole box
and it ran all over. I tell you, we had more rice
than we had at the wedding."

Mary Anne's voice was almost mousy as she
said, "I did the same thing last night I didn't
know the kernels multiplied." As she made her
confession, it wasn't difficult to visualize that—
out in what, at the start of Don's career, was
called "Radioland"— many, many a young house-
wife added, "Me, too."

And there you have it. The secret of Breakfast
Club's current appeal, and also of its longevity.
They talk of personal experiences, funny or serious,
which every family shares.

"Aunt Fanny," of course, is beloved Fran Allison.

w~,

wmmmmwMsm

rjj

.— ;

Pamela Danova, head of the 20th Century-Fox school, is devoted to the thesis that stars

should look and act like stars — -in the grand manner of oldtime Hollywood. Here, she addresses

her eager students, including nineteen young contract players, who are receiving intensive

training in acting, dance, fencing, personal development in the social graces, fashion and

styling. Famous guests have lectured on all phases of entertainment. In group above, left

to right (standing) — Trax Colton, Steye Baylor. Seated — Elana Eden, Bill Tyler, Sheila Kayne,

David Brandon, Susan Adams, Louis Fuhrmann, Monica Moran, Jim Brolin, Linda Hutchings, Lou Payne,

Sherrie Hackett, Elizabeth Howard, Chris Bowler, Anne Benton, Michael Lee, Nancy Priest, John Goulias.

KATHLEEN

POST

■ Pamela Danova, who heads up the special training
project for young actors and actresses at 20th
Century-Fox studio, is a black-haired dynamo de-
voted to resurrecting the "star" quality which used
to be the magic key to Hollywood glamour. An ex-
actress herself, an experienced drama and dialogue
coach, Miss Danova feels that stars should look and
act the part. "We need more stars in Hollywood to

replace the rapidly diminishing Old Guard," says
she. "But I don't believe identification is the key
anymore. During the war years, publicity played up
the boy-and-girl-next-door type of movie personality.
But if you'll look at the stars who've lasted — great
names like Gable, Spencer Tracy, Bergman and
Cary Grant — you'll see stars who lived up to all the
word 'star' implies. They never made any effort to

Continued

4,5

v/f'/jf/rJr/A

KATHLEEN

POST

Pamela Danova, head of the 20th Century-Fox school, is devoted to the thesis thai stars

should look and act like stars— in the grand manner of oldtime Hollywood. Here, she addresses

her eager students, including nineteen young contract players, who are receiving intensive

training in acting, dance, fencing, personal development in the social graces, fashion and

styling. Famous guests have lectured on all phases of entertainment. In group above, left

to right (standing)— Trax Colton, Steve Baylor. Seated— Elana Eden, Bill Tyler, Sheila Kayne,

David Brandon, Susan Adams, Louis Fuhrmann, Monica Moran, Jim Brolin, Linda Hutchings, Lou Pay"e'

Sherrie Hackett, Elizabeth Howard, Chris Bowler, Anne Benton, Michael Lee, Nancy Priest, John Goulias.

replace the rapidly diminishing Old Guard," sayii
she. "But I don't believe Identlfieatlofl Lt Chi
anymore. During the war years, publicity playtd up
the boy-and-girl-next-door t.y i ' onallty,

But if you'll look at the stars whoVi Luted ;■<-■''
names like Gable, Spencer Tracy, Bwgman and
Cary Grant— you'll see stars who lived up to ;,ll thi
word 'star' implies They never made air; tBoti to

Continued

►

be ordinary people. A movie star or a TV star has to
be a person that fans look up to and admire."

When Miss Danova started her project this year,
she sent a letter to each of the young contract holders
on whom 20th Century-Fox is lavishing this special
training for true stardom. "From now on, stars of the
future will look as well-groomed stars should look.
You will dress properly. This means no more sweat-
shirts, sneakers and blue jeans. No more straggly hair,
pants or sports shirts emphasizing the female form.
Boys will wear suits or elegant sports clothes. They
will have hair cut and combed. If a sport shirt is open,
the neck will be covered by an ascot. Bare chests are
acceptable only at the beach or if a role before the
cameras requires it."

Miss Danova points out that her students are being
groomed for stardom in every possible way. "This
means they must be able to walk with poise, speak
with assurance and behave with, propriety. They must
learn to be gracious to anyone and everyone in prepa-
ration for the day when they may have fans and
admirers. The image of the star is what made Holly-
wood great. Our students must reflect that image con-
stantly whether at the studio or shopping for groceries."

At present, Miss Danova's talented charges are get-
ting real "on the job" training, integrating studies in
such glamorous subjects as dance and fencing with
working experience in actual TV and screen produc-
tions. Throughout, Miss Danova has continued to em-
phasize the importance of promptness and self-disci-
pline— pointing out that such established luminaries as
Marlon Brando, James Dean and the perennially late
Marilyn Monroe wouldn't stand a chance under the
new program. "I'm afraid they'd have been washed
out," she says. "But Cary Grant and Grace Kelly
would have received A's."

me
iffis

doe

Pamela Danova explains pointers on what makes a
good photographic study to group of .her students
at 20th Century-Fox actors' school. Seated (left
to right)— Sheila Kayne, Trax Colton, Liz Howard,
Anne Benton. Bill Tyler is standing at right.

Drama lesson for Nancy, Priest and David Brandon is given by Robert

Busch, Miss Danova's assistant. Mr. Busch has shared teaching

chores with Miss Danova, was for a number of years attached to

20th Century-Fox studio as an acting tutor before school was set up.

&y £

Hal Belfer, right above, is consultant and
advisor in dance design and musical comedy
activities. Several shows may be produced
each year to enable studio's executives to
see students perform at professional level.
Belfer is a top production director and cho-
reographer, recently directed musical num-
bers in Fox movie "Pirates of Tortuga."

Personal development tips were given by Wynn
Cochran. Here, Elizabeth Howard, who was one
of first four students, gets special makeup tips.

Regular feature of earlier classes was
weekly talk from a guest lecturer
who is expert in some field of entertain-
ment. Here, speaker seated at table with
Miss Danova is Jack Cardiff, director and
:inematographer, who recently completed
the Warner Bros, picture "Fanny."

Weekly fencing lessons are given by Joseph Vince, holder of many

fencing championships, and 1936 coach for U. S. Olympic Sabre

Squad. He has taught such greats as Douglas Fairbanks Jr., Errol Flynn.

(%eWm

be ordinary people. A movie star or a TV star has to
be a person that fans look up to and admire."

Miss Danova points out that her students are being
groomed for stardom in every possible way. "This
means they must be able to walk with poise, speak
with assurance and behave with propriety. They must
learn to be gracious to anyone and everyone in prepa-
ration for the day when they may have fans and
admirers. The image of the star is what made Holly-
wood great. Our students must reflect that image con-
stantly whether at the studio or shopping for groceries."

Pamela Danova explains pointers on what makes a
good photographic study to group of her students
at 20tri Century-Fox actors' school. Seated (left
to right) — Sheila Kayne, Trax Colton, Liz Howard,
Anne Benton. Bill Tyler is standing at right.

Drama lesson for Nancy Priest and David Brandon is given by Robert

Busch, Miss Danova's assistant. Mr. Busch has shared teaching

chores with Miss Danova, was for a number of years attached to

20th Century-Fox studio as an acting tutor before school was set up.

Hal Belfer. right above, is consultant and
advisor in dance design and musical comedy
activities. Several shows may be produced
each year to enable studio's executives to
see students perform at professional level.
Belfer is a top production director and cho-
reographer, recently directed musical num-
bers in Fox movie 'Pirates of Tortuga."

Regular feature of earlier classes was
weekly talk from a guest lecturer
who is expert in some field of entertain-
ment. Here, speaker seated at table with
Miss Danova is Jack Cardiff, director and
cinematographer, who recently completed
the Warner Bros, picture "Fanny."

Personal development tips were given by Wynn
Cochran. Here, Elizabeth Howard, who was one
of first four students, gets special makeup tips.

Weekly fencing lessons ore given by Joseph Vince, holder of many

fencing championships, and 1936 cooch for U. S. Olympic Sabre

Squad. He has taught such greats as Douglas Fairbanks Jr., Errol Flynn.

LOVELIEST
LOVELIES ON

hy ADAM MITCHELL

■ Beauty, as we all know, is in the eye of the beholder. So,
when discussing the relative merits of various lovelies, why not
get professional beholders to settle your argument for you?
Having sat in too many barber shops and overheard too
many debates about whether glamour, pulchritude, coyness,
sweetness or "oomph" should dictate the choice, I decided
to call on three experts for their opinions as to what con-
stitutes a beauty — and, more specifically, who and what con-
stitutes an all-time beauty where television is concerned.

My first stop was the Greenwich Village studio-apartment of
sculptress Maria Alexander. Says Maria, "Beauty is a relative
thing. Some beauty is found in utter simplicity. Other kinds
of beauty are to be found in decorative objects. But, when
you ask me to pick out one single woman as the all-time
beauty, you leave me little latitude.

"My number-one choice would be Loretta Young, for this
woman combines both simplicity and gay decor, to add up to
the complete woman. Her face is open and devoid of pretense.
And that, to me, is the mark of a true beauty. . . . Diane
McBain, of Surf Side 6, is a charming example of young beauty.
She is a girl with a fine bone structure in her face, blessed
with a smile that radiates a warmth which is both intriguing
to men and friendly to women." Maria's third choice is Amanda

Continued l

TV Radio Mirror
blows an airy kiss to
some of the slickest
fascinators in America

wi\

J M

■MMWMHEDnnttVIHMMII^^^H

LOVELIEST LOVELIES ON TV

(Continued) ■
Blake, the strawberry blonde of
Gunsmoke. "She has the look of the
great outdoors woman, while also
seeming to be most capable indoors,
if the situation calls for it. In real
life, I'm sure a man like Marshal
Dillon would never keep her wait-
ing so long! . . . My fourth choice
would be Betsy Palmer, of I've Got
A Secret fame. She also has the
wide-open, honest kind of beauty, a
face that would not tell a lie. And
she has an intelligence about her
that accentuates her good looks. . . .
And, finally, I'd nominate France
Nuyen, of last season's Hong Kong.
As do most women of Oriental strain,
she has exquisite small features. She
is a girl who, in years to come, will
grow even lovelier."

Our second judge of beauty was
artist Boris Lurie, who had just had
one of his striking collages bought
by the Museum of Modern Art.
"Beauty is a thing of the moment,"
says Boris. "What is beautiful now
may fade, the very next hour. This
is not being fickle — just factual, for
a beauty has to be reborn again and
again. My first choice would be Polly
Bergen, who is always being reborn
each time I see her. She is efferves-
cent, fresh and sparkling. . . . For
my second choice, I would select
Connie Stevens, a girl I feel has yet
to attain the continuing beauty I
believe she will inherit in future
years. But she is the most consistent
beauty of the younger television
girls. . . . Then, Loretta Young, with-
out a doubt. Endless, enduring, al-
ways a different woman. For me, she
is a priceless third. . . . My fourth
choice would be Bess Myerson, who
has retained the Miss America qual-
ity that proclaimed itself in 1945. She
has an incandescent glow that never
ceases. . . . And, fifth, I'd name
France Nuyen. That girl I like. She
has the eyes of a sensual cat — and
that, to me, is a rare thing, combined
with her other assets."

Next judge was Emil Montouri, a
talented decorator personally con-
structed along the lines of Italian
idol Vittorio De Sica, only taller.
Emil tells us, "Julia Meade would be
my first choice. I always watch Ed

Sullivan's show, and one of the good
reasons my wife and two daughters
watch is to see Julia spiel the com-
mercial! She can convincingly sell
herself, long before she says a word.
. . . Then, there's Loretta Young —
who, for me, is always the final bit of
decor to any smart living room,
whether it be in person or on the
television set. She has 'class,' a
priceless commodity in these times.
Also, taste."

Third, for Emil: Bess Myerson.
"Her bone structure is a thing of
beauty. Those high cheekbones set
off her sparkling eyes in a most en-
ticing fashion. And her jawline is
perfectly proportioned for her long,
lean look. . . . Next, I'd chose Faye
Emerson. Although Faye is a bit
more on the sexy side than the
others, she nevertheless exudes a
quality of gracious warmth, rather
than blatant sex. . . . And then,
Polly Bergen. For me, she has the
two-fold appeal of arresting eyes
and a pert nose, which makes a
combination of both youth and
woman-of-the-world."

And there they are — the lovelies
these trained artists elected. Five
choices each. Counting duplicates,
ten beautiful women seen frequently
on television. Nice picking, by pro-
fessionals— if you can see it the same
way. But . . . beauty being the fey
thing it is . . . and everyone having
his personal idea of what constitutes
a great beauty ... to each his own!

LOVELIEST LOVELIES ON TV

(Continued)
Blake, the strawberry blonde of
Gunsmoke. "She has the look of the
great outdoors woman, while also
seeming to be most capable indoors
if the situation calls for it In real
life I'm sure a man like Marshal
Dillon would never keep her wait-
ing so long! ... My fourth choice
would be Betsy Palmer, of Ive Got
A Secret fame. She also has the
wide-open, honest kind of beauty, a
face that would not tell a lie. And
she has an intelligence about her
that accentuates her good looks. . . .
And, finally, I'd nominate France
Nuyen, of last season's Hong Kong.
As do most women of Oriental strain,
she has exquisite small features. She
is a girl who, in years to come, will
grow even lovelier.

Our second judge of beauty was
artist Boris Lurie, who had just had
one of his striking collages bought
by the Museum of Modern Art.
"Beauty is a thing of the moment,"
says Boris. "What is beautiful now
may fade, the very next hour. This
is not being fickle— just factual, for
a beauty has to be reborn again and
again. My first choice would be Polly
Bergen, who is always being reborn
each time I see her. She is efferves-
cent, fresh and sparkling. . . . For
my second choice, I would select
Connie Stevens, a girl I feel has yet
to attain the continuing beauty I
believe she will inherit in future
years. But she is the most consistent
beauty of the younger television
girls. . . . Then, Loretta Young, with- ~
out a doubt. Endless, enduring, al-
ways a different woman. For me, she
is a priceless third. . . . My fourth
choice would be Bess Myerson, who
has retained the Miss America qual-
ity that proclaimed itself in 1945. She
has an incandescent glow that never
ceases. . . . And, fifth, I'd name
France Nuyen. That girl I like. She
has the eyes of a sensual cat — and
that, to me, is a rare thing, combined
with her other assets."

Sullivan's show, and one of the good
reasons my wife and two daughters
watch is to see Julia spiel the com-
mercial! She can convincingly sell
herself, long before she says a word.
• . . Then, there's Loretta Young—
who, for me, is always the final bit of
decor to any smart living room,
whether it be in person or on the
television set. She has 'class,' a
priceless commodity in these times.
Also, taste."
Third, for Emil: Bess Myerson.
Her bone structure is a thing of
beauty. Those high cheekbones set
off her sparkling eyes in a most en-
ticing fashion. And her jawline is
perfectly proportioned for her long,
lean look. . . . Next, I'd chose Faye
Emerson. Although Paye is a bit
more on the sexy side than the
others, she nevertheless exudes a
quality of gracious warmth, rather
than blatant sex. . . . And then,
Polly Bergen. For me, she has the
two-fold appeal of arresting eyes
and a pert nose, which makes a
combination of both youth and
woman-of-the-world."

Mm Dr. KMm

First a movie, then a long-running radio series,

now a TV series — with Richard Chamberlain in the
title role. Here's a capsule view of Dick himself

The premiere of the Dr. Kildare series this
month might also merit a running sub-title,
"Hometown Boy Makes Good." Richard Cham-
berlain, who plays a young intern struggling
toward professional success in a big city hos-
pital, is a rugged young man who was born and
brought up within easy driving distance of the
major Hollywood studios. The more remarkable
circumstance is that he was cast for this major
role after a scant year of acting experience
which gave him acting credits in a number of
major TV series. . . . Dick went through gram-
mar and high school in Beverly Hills, then
attended college at Pomona College in Clare-
mont, California — an institution of higher learn-
ing which also boasts Robert Taylor and Joel
McCrea as graduates. During college, Dick was
an outstanding track star and also developed
an active interest in the school drama program,
performing in "King Lear," "Arms and the
Man," and "The Lady's Not for Burning." Army
service in Korea followed his college gradua-
tion in 1956, with sixteen months of non-com-
bat duty eating up the time until he returned
to civilian life in 1958. . . . He at once renewed
his ambitions to make an acting career his life
work — with voice lessons and dramatic coach-
ing. The effort soon paid off, with appearances
in The Deputy, Gunsmoke, Riverboat, Alfred

Born in California, Dick lives
in a bachelor apartment in Hollywood Hills.

Raymond Massey co-stars as Dr.

Gillespie, Beverly Garland is the nurse, as

seen here with Dick as TV's Dr. K.

Hitchcock Presents, and other series. His mo-
tion picture debut was made in MGM's "Secret
of the Purple Reef." The starring role in Dr.
Kildare is his first major assignment in a con-
tinuing series. Dick fives in a bachelor apart-
ment in the Hollywood Hills and, at this point,
finds little time for serious romance — his acting
commitments eat up too much of his days. . . .
Dr. Kildare, co-produced for TV by MGM and
the NBC network, is based on the long-running
movie and radio series, for which Lew Ayres
and Lionel Barrymore created the original
roles. The pilot for the new series was written
by E. Jack Neuman, who is well known for his
TV work and also, some years ago, wrote
twenty original scripts for the radio version of
Dr. Kildare. . . . An integral part of the be-
loved drama's charm for TV viewers will also
be the presence of Raymond Massey, co-star-
ring as Dr. Gillesepie, who is the Chief of
Medical Services for the hospital and a mem-
ber of the staff of the adjacent medical school
with which it is affiliated. Massey, the much-
honored veteran of Broadway and TV, and
Chamberlain, the exciting newcomer, add im-
mediate interest to a dramatic idea long dear
to American audiences.

Dr. Kildare will be seen over NBC-TV, each Thursday,
from 8:30 to 9:30 P.M. EDT, beginning September 28.

■I^HHHB

Her Bachelor Husband

A wife's-eye-view of John Forsythe, the "wifeless" hero of Bachelor Father

by MAURINE REMENIH

Says Mrs. John Forsythe, "I'm in a rather unique
and enviable spot." Any feminine-type female
viewer of Bachelor Father would call that an under-
statement— considering what a dreamboat "Uncle
Bentley" is. But that isn't exactly what Julie Forsythe
means.

"I think any average, normal male, after he's been
married ten or fifteen years," she explains, "is apt to
moon a little over the long-lost pleasures of being
a bachelor. When he sees a pretty girl, he may think
wistfully of how things might be, if he didn't have
a wife and family! But John has been play-acting a
bachelor for some time now. If he's ever had any of
those wishful moments, he's able to get it all out
of his system. As Bentley Gregg, he's perfectly free
to charm the girls, dress like a well-paid young law-
yer, be waited on by servants — the works.

"Actually, John never really was a bachelor, so I
suppose playing Bentley is even more fun for him
than it would be for someone with a playboy-type past.
John was first married when he was only twenty. That

Bachelor Father: John's a very single man
as Gregg Bentley on TV, where his home is brightened
only by charming niece Kelly (Noreen Cor-
coran) and whimsical houseboy Peter (Sammee Tong).

Facing page — no bachelor, but very much

a father: "Born husband" John with "understanding

wife" Julie, daughters Brook and Page —

whose name reveals something about the Forsythes!

lasted only a couple of years. Then, a couple of years
later, we were married. So you might say he's always
been married. However, I think John is one of those
men born to married life. He always seems at his
best here at home, being Head of the House.

"He'll stand for a great deal more nonsense from
the girls than I do. There's usually a mob of children
around the place. The girls are very gregarious, con-
stantly issuing mass invitations to come over and
swim. Inevitably, they all wind up in our pool — with
John doing lifeguard duty. He'll put up with a terrific
amount of giggling and horseplay. But, if things
threaten to get out of hand, wham! John doesn't raise
his voice, but there's a new note of authority in it,
which the girls recognize instantly."

Julie claims there's one aspect of Life-with-John
strictly from bachelorhood: His clothes — and the way
he doesn't take care of them. "I'd faint if I ever found
him hanging up anything for himself!" And the ex-
tent of his wardrobe would turn any self-respecting
playboy green with envy. "He has to be well turned
out for his role as Bentley — and he inherits his TV
wardrobe for personal use. However, when the girls
or I want new clothes, that involves our budget and
is a different matter entirely. He's one of those
husbands who say, 'But you've got a dress!' He's an
easier touch for the girls."

How the girls were named is another story — with
bachelor overtones. Very rarely are daughters named
for father's old girlfriend. But that's the way it was
with Page Forsythe. Before she was born, John and
Julie were discussing names. John mentioned that
he'd long ago dated a girl called Page. He'd forgotten
the girl completely, but the name stayed with him —
it had a certain dramatic flair. Would Julie mind?
Julie's broadminded, and she agreed "Page Forsythe"
had an elegant sound. So, for that matter, does
"Brook Forsythe" — their second-born.

Around home, handsome young father Forsythe is
strictly a do-it-yourself man. Not, please understand,
do-it-7iimself. If you want something done around
the house, that's fine with him. Go ahead and do it
yourself. "He's a born overseer," Julie sputters.

Born husband or no, Julie admits that John is likely
to forget anniversaries, even birthdays, and refuses
to give her a present on Mother's Day "because you
aren't my mother!" But he does come home with
pleasant frequency bearing uu-birthday gifts, things
he's seen which he knows will please Julie. And she
proudly reports that John is also that wonder of won-
ders— one husband who is as cheerful, charming and
articulate at home with his family as he is at a party!

Bachelor Father is seen over NBC-TV, Thurs., 9 P.M. EDT, as sponsored by the American Tobacco Company and Whitehall Laboratories.

KAY; The Discs and Discers in Orbit This Month

• In 1956. Harry Belafonte produced a best-selling album titled "Calypso;" His latest
album— released through RCA Victor but produced by his own recording company— is
titled "Jump Up Calypso." Yet Belafonte flatly rejects being identified as a "calypso
singer." . . . "Calypso is part of our folklore, and I include it in my repertoire because
I'm basically a folk singer." he says. "The temporary calypso fad of several years ago is
over, and I'm most happy that it is. I'm not a faddist. Naturally. I'm hoping that this
album is another best-seller. But I have no wish that it revive the so-called calypso craze."
. . . Belafonte has earned the right to his opinions. Fighting against a wide assortment of
handicaps, he has become recognized as one of the country's most talented actor-singers,
and the first Negro matinee idol. As Maurice Zolotow wrote in a recent article: "In repose
his face is long and somber and his jaws meet too sharply at his bony chin. He looks
young and naive. But when he moves and his face becomes restless and stirred up. he
projects a range of emotions, the most striking being an electrifying air of sexiness."
. . . Although Belafonte is one of the foremost stars of motion pictures, the
variety stage, night clubs, concert circuit and. of course, recordings, success
did not come easy. In fact, his story is that of a singer who "made it"
on the second try. After gaining a fair amount of popularity as a
pop singer, he quit cold. He found crooning "artisticallv

by
JAMCS TAYLOR

shallow and decided to either
find his proper niche in show business
or get out of it. Together with two friends, he
bought a small restaurant in Greenwich Village where, frequently, someone would produce
a guitar and community sings would result. It was during these informal songfests that
Belafonte discovered a deep feeling of satisfaction in singing folk tunes. . . . Late in 1950.
Belafonte and guitarist Millard Thomas began to build a repertoire of old and modern
folk ballads. Before the end of that year. Belafonte was booked into the Village Vanguard
night club, where he received critical raves — and his show-business "comeback" was under
way. This modest beginning led to a contract with RCA Victor and. eventually, to success
in such fields as motion pictures and television. . . . Ironically. Belafonte first trained to
become an actor — following his discharge from the Navy in World War II. he studied for
three years at the Dramatic Workshop of the New School for Social Research in New York
City, where his classmates included Marlon Brando. Tony Curtis. Elaine Stritch and
Paddy Chayefsky. Today, he heads his own movie producing firm, as well as his own
recording company. He can name his own price for night-club appearances and he is.
without question, one of the most popular American artists with European audiences. . . .
Belafonte lives in an apartment in New York City. In his private life, he has few close
friends and engages in few social activities. His main devotion is to his family and to his
work. He's had a life-long desire to become a star . . . not only a popular success, but a
success with respect for himself and for his race. Now that he has become a headliner. the
handsome star refuses to relax, determined to realize equal recognition as a producer.

Discography: Belafonte's newest album

fonte" (LPM 1150). "Belafonte Sings „

'LPM 1402), "Belafonte at Carnegie Hall" (LOC/L

is "Jump Up Calypso" (RCA Victor LPM/LSP 2388). His recordings include "Bela-
of the Caribbean" (LPM 1505), "Calypso" (LPM 1248). "An Evening with Belafonte"
tall" (LOC/L>0 6006). and "Belafonte Returns to Carnegie Hall" (LOC/LSO 6007).

^Hfl

MDJflffimM:

Man Against Crime and Corn

by MARTIN COHEN

• This fall, Mitch Miller's TV series on
NBC stares right into the tommyguns of
ABC's Eliot Ness on Thursday nights — and
the word around Radio City has been that
the maestro of Sing Along With Mitch is
none too happy about working opposite the
high-spirited crime chasers.

"I don't like the time slot," he says
frankly, "but it has nothing to do with The
Untouchables. We'll beat their ratings. I
think we're going to have one of the best
shows you've ever seen. . . . But the time
does bother me. What we have is a family
show that will appeal to all ages. When we
come on late, the kids will be in bed and I
hate to see them miss it."

This is a confident, pleasant man. Bearded
at a Columbia recording studio, he wears a
loose red sports shirt and a look of con-
centration, as the male chorus rehearses a
number for his fourteenth "Sing Along With
Mitch" album. He says, "Our kind of enter-
tainment, on records, as well as on TV, is
nostalgia. We supply the song — it may be
forty years old or just a year — and you
supply the memory. Nothing new about the
idea. You can think of a dozen programs
that have tried it. It looks so easy, but it's
not — because, most of the time, it winds up
being corny. We don't deal in corn. We deal
in quality."

Mitch's whole life has been dedicated to
music. Basically, he is a trained, legitimate
musician. For many years, he has been
artists-and-repertoire chief at Columbia
Records, responsible for their popular
releases. This, he thinks, will be his chief
asset in the battle for TV ratings.

He points out that he's been dealing with
good music. "When people go out and buy
a record, they don't play it once but many
times. The recording business is altogether
different from radio music. People don't
love radio music per se. The recording
business has grown into a giant, over the
past few years, and people are not buying
what they hear on radio. The recordings in
the Top Forty played on the air represent
only eight percent of the total record sales.
Ninety-two percent of the records sold con-

tain music that has nothing to do with air
promotion or air play. The stations' taste in
music and that of the record-buying public
are not necessarily compatible."

He thinks the word "trend" is a pitfall.
"The man who follows trends is putting a
noose around his neck. A trend is nothing
more than following the leader. Ideas that
come from imitation. A man should be
intrigued by quality — but, of course, first he
must be able to recognize it."

The quality he speaks of has been evident
in the recordings of Doris Day and Johnny
Mathis, to mention only two of the many
whose recording sessions he has directed.
Mitch retains his office at Columbia but has
given up the administrative duties. He has
no time for it, now that he is a star himself.
He's the kind of man who gets completely
involved in a project, and the TV show
demands that kind of attention.

"I think we are giving TV a third dimen-
sion," he says. "Our camera moves in and
out. I have two of the best men in the
business helping me, producer-director Bill
Hobin and writer Gordon Cotler. We are

Leslie Uggams is one of four featured singers
—all girls — on NBC-TV's Sing Along With Mitch.

KAY: The Discs and Discers in Orbit This Month

Diana Trask gets pre-furred treatment
in typically imaginative TV production number.

Louise O'Brien sings up
nostalgic echoes of World War I.

Mitch is proud of his talented chorus — all male, al
ages and types. "We chose them strictly for their voices.'

Gloria Lambert is fourth of the girl voca
Mitch prove that good songs endure through "quality,'

ists who help
not "corn."

doing things that require imagination."

Privately. Mitch's life has changed little.
He and his wife still live in Stony Point.
New York. Their eldest. Andrea, finished
her schooling last spring and made her
acting debut in summer stock. Margaret is
a senior in high school, and young Mitcli i>
in ninth grade. "They all sing and play.'"
their dad notes, "but not for money."

Mitch has been playing for money since
he was a teenager. But, as he says, "Music
makes money, but money doesn't make
music. Quality in the arts has nothing to do
with dollars and cents. What you have to
bring to this business is respect for music
itself. \v e will play recent songs, as well as
some thirty years old, in the Sing Along
series. But the new ones will be good ones,
that will be remembered thirty years from
now. Old or new, a good song is a fragile
thing and must be treated with respect."

Discography: Mitch's latest albums are "TV Sing Along" (Columbia, CL 1628/CS 8428). "Special Request Sing Along" (CL
1671 /CS 8471 J. Several previous albums have sold 500.000-plus ; the original "Sing Along With Mitch —one million.

MM MILK:

Man Against Crime and Corn

l.v MAHTIN DOIIBN

• ii,, i„ii Milch Mili« l\ ■"■

,i!(, ion in-ill Into il"' mygufl ol

\Hi i ||oi .- on ITiui ■""l

,.i iround Radio < 111 hi I""1 thai

[In mm in- "i s"< " ,/"''' '

Ii ip I i '■■! Ifl| OPI '"'

high i<i> lii -I - ' hi • i

I don'l Uk< '' "• '"' '"

frankly bul II hi bln| to do with Tlu

i „,,,„, habli vV< U hi it iheii rating*- I

i,i,, i to hai ' ll" '" '

i,,,u ,.,,,\. .i-i ■■■ii Bul il"- time

,i,„ bothi i mi vVhal wi bavi i i famll)
■how ili.ii >mII tppi al lo ill •. ■ NV "

id i., i, ii,. i |d will I- '" bed »nd I
lion io - - il" i" lnl II

1 1 nfidi "I pli i - !'•■ '"'• &

ii ,i ( lolumbli "i"1! tudlo, hi

loo - '• -i i ii"1 »nd " look "i • on

, , nil., i i ii,- i-i ,i> - ii-"" rob

In , loi I" I II ' "ill "sl"K \l"i'l w Ith

Mln i, ,ii, ,, ,„ ii. i) ii,,. kind "i ■ "" '

i ,,,,,,,. i i I i m il ' on i \ i

I,,- inlgio w. uppl) ii i) |m'

i,, .ii i, m old oi i" i ■ yi ■■" ""l you
,,,,,, I, Hi, ,,., morj N"iliiui'. in m ,il'"iii il"

1,1. , > ...I . ;in llllllk "I i -I pi

til ,i havi in- -I H li look Diui bul It'

i,.,i I,. . i i "i il " ii wind up

nj w • don'l di ii In • orn w i di »l

,1, qualit)

Mlti li wholi lii. hi I di -l" Hi 'I lo

lit hi i ■ ii i li i iiiniii'

li , ," i oi mm) Mi" i" hi i

,,i, i mid ,, i" i li" i ii ' olumbl i

ii. -i ,,,,1 ,. i I.I. (oi ill- 'I populii

1 1,, I,, iiimk will I" hi
, i I,, ii,, battli foi I \ rath
II,- polnl -"ii thai I" I" ■ " dealing with
mi |i \\ hi ■ "in ind bu)

,,l, iin % don'l pla) ii "ii" bul man)
inn. i. The i

different from radio muiic People don'l
lovti radio mu lo p ■ 1 1" ret ording
i. ii ,n, hai grown Into i ■ lant, ovei the
|i.i i 1. 1. \. ,. and poopli in ".-i buying
what the) heai on radio lings in

il,, i..|, Fort) played on the ail represent
,.,il\ ii.-Ih pereenl oi il»- lotal
Nine!) iwo percent ol thi aid con-

lain mi.-i. tfial li-i- nothing » 'I" with .."

.hi play. The stations I

md thai -I the record-buying publie
,ir n"i ompatible.

H, ihinlc, ii„ «,,r,l "trend" it i pitfall.

ll„ i, who followi trendi i« putting a

\ trend ii nothing

il following the leader. Ideal thai

■ in. in Imitation \ man abould be

ii ,| I" qualit) but, •■! couree, firil he
mii-i I,.- able i" !•■' ognize it."

The qualit) he rpeaki ■■( hai been evidenl
In the recording! oi 1 >. ► j ■ Da] and lohmrj
Mathii, i" mention ..iil\ two "i the man)

„l recording aeuioni l»- hai directed.

\lii, I, retalni hii office .ii Columbii bul has

In administrative duties. Il>- lias

i. i,, i it M, .« thai he i- a -tar himself.

ll,' il,,- km, I "i man who geta completelj
Involved In I project, and the TV show
,1. standi thai km. I ,,i attention

l think we are giving TV .i third dimen-
Ion," l" ia) "m camera moves in and
out I have Iwo ■■! r I * » • best men in the
busineai helping me, producer-director Hill
II, .Inn .in,l wrltei i I"" Cotler. We ire

Leslie Uggams is one of four featured singers
—oil girls— on NBC-TV ■. Sing Along With Milch.

Diono Trail

A ift KAY: Tntt Discs ond Dts<m in Orbit This Month

Mitch Is proud of his talented ck ile oil

:>q<>s ond types. "Wa chose rha

Glorio Lombarl
* 'hot good ton<i

things iliji require imagination
Privately, Mitch's life has changed lililr

H" and In- wi(.- .till live in Slon) P i

N"» V.rk II, .ii eUeat, kadi
■ 'ii". last tpring ai
debut in -iiininrr -.i... k Mar|

1 in lni:li - l..».l. nii.l young Mitch ii

-i
BOtl I. ill li. ■ i In B>

Milch has been playing l">r mesw)

■
•••"•■• I. hi mom mskr

Qualit] m i

nr I..

thii buaim

I • vill pla) rr, ■ ...|| j.

■ •I.t. in ehr Sinx

II be r'TnrmlirrrH ihirl ■

T4«llr

i inu-t I*- ueated »nh m

'■'

.'I

ORBIT

PETER ABBOTT

Jl! ,UV

uviho srexeo

BeLaFOr

i e

A round-up report on the
records that'll go, go, go this month

This is the season — as leaves turn gold, summer romances are over and
new loves catch fire — when music again fills the air. It is new music,
and all kinds, as the recording companies issue their big fall lists.

THE BIG VOICES (MALE)

Belafonte: Jump Up Calypso (RCA
Victor) . Six years ago, Belafonte started
a calypso rage with his first recording
for Victor. Now he returns to the idiom
with all new, high-spirited songs. Bela-
fonte at his lively best. . . . Mathis: A
Portrait of Johnny (Columbia). The
world's favorite romantic singer moves
from slow to upbeat tempos, from "Star
Bright" to "How to Handle a Woman."
The album includes a reproduced biush-
stroke picture of Mathis with locking

easel. . . . Ray Charles and Betty
Carter (ABC-Paramount). This is the
"together" album of the year. Charles,
who has captured the ears of all. from
rock 'n' roll to jazz fans, sings with in-
spiration with Betty. Almost any side is
worth the price of the album. . . . Sing
to Me, Mr. C. (RCA Victor). Eighteen
all-request tunes that Perry Como has
been asked for, in his TV mail, and this
is Perry at his best. Should be in the
library of even those who don't like
Como. . . . Broadway, Bongos and

ELVIS

SINGS

SOMETHING

FOR YOU
...IN

Elvis' newest album with top pops for you , , . and
you. . . and everybody! In twelve great tunes, Elvis
sings the blues, tender love songs, big -beat specials,
movie hits and more! It's a must for everyone!
Living Stereo or
Monaural Hi-Fi.

LIVING STEREO

rcaVictor

ft "New Orthophonies High Fidelity Recording

1- There's Alwap Me
2. Give Me the Right
*• It's a Sin

from the Jerry Wald Pro-
duction 20th Century-Fox
CinemaScope Picture
WILD IN THE COUNTRY

-, I MORtCH '
WMMING ;"

MERCURY STEREO

BILLY ECKSTINE

(«

PoiisPm

SARAH VAUGHAN
SSSKS3S* ■ MY HEART SINGS !

Mr. "B" (Mercury). Mr. "B" is, of
course, Billy Eckstine, a name that
merely means wonderful — and this, with
lively percussion, adds to the excitement
of his wonderful delivery. . . . The old
master, Bing Crosby — and who needs to
describe him? — makes the market on
two different labels: Join Bing in a
Gang Sing Along (Warner Bros.)
backed up by a chorus, and El Seiior
Bing (MGM), a toast to South Amer-
ica. . . . Mr. Entertainment: Sammy
Davis Jr. (Decca). Giant-sized pleas-
ure. On one side, it covers Sammy's ver-
satility in vaudeville and, on the other,
his "show-stopping" tunes. . . . Mills
Brothers: Great Hawaiian Hits
(Dot) . Celebrating their twenty-fifth an-
niversary, America's favorite quartet
blends "Sweet Leilani" and such. . . .
Jack Teagarden: Misery and the
Blues (Verve) . One of those "that's all"
albums, because Mr. TVs trombone and
voice were made to sing the blues. . . .
Tony Bennett: My Heart Sings (Co-
lumbia) . Swinging on one side, sensuous
on the other, with the big-band backing
of Ralph Burns.

THE BIG VOICES (FEMALE).

. . . The queen of pop songs — who else
but Ella Fitzgerald? — leads the parade
with Ella in Hollywood (Verve). In a
'blue sky" mood, she cheerfully swings
through a dozen goodies, with an espe-
cially exuberant twist to "Mr. Paganini."
. . . Lena at the Sands (RCA Victor) .
Lena Home, recorded during an actual
<how in Las Vegas. Insiders have always
known she was at her best before an
audience, so this rightfully takes its
place as one of her finest. . . . Abbey
Lincoln: Straight Ahead (Candid).
An experience in jazz singing totally un-
expected, and completely moving and
astonishing. The svelte, lovely Lincoln
has abandoned her supper-club style for
the honest cut of naked emotion. . . .
Doris Day: I Have Dreamed (Co-
lumbia). The dream artist with a dream
package, "Periwinkle Blue," "I'll Buy

That Dream." What the doctor really
ordered instead of an apple a day. . . .
My Golden Favorites: Roberta
Sherwood (Decca) . This lady's voice is
so well-loved, it is only right that she
should record the songs she loves best

for her fans He Needs Me : Gloria

Lynne (Everest). The fabulous voice
that Belafonte used over and over, in his
last TV show. She applies her jazz-
gospel voice to tender sentiments, such
as "The Lamp Is Low," against a lush

background Eileen Farrell: Here

I Go Again (Columbia). The operatic
singer follows up the success of her first
pop album with another dozen stand-
ards, again backed by Luther Hender-
son. . . . Pearl Bailey Sings Songs
She Loves (Roulette). The songs are
by her favorite composer, Harold Aden
— including "Come Rain, Come Shine,"
and eleven more. . . . And the Divine
Vaughan is represented by two albums :
My Heart Sings (Mercury), in the
quiet mood, with "My Ideal," "Please"
— all simple melodies that require a
great voice. In another album, After
Hours: Sarah Vaughan (Roulette),
she sallies forth informally with a small
rhythm section.

JAZZ SUPREME Fall is made

memorable with a new issue, Miles
Davis: In Person at the Black
Hawk, San Francisco (Columbia).
First recordings the jazz great has made
since August of 1960, and the first he
has ever recorded for Columbia outside
a studio. One disc was recorded on a Fri-
day and the other on Saturday. You can
buy both in one package, or take them
separately. . . . Jazz Reunion: Pee
Wee Russell— Coleman Hawkins
(Candid). A great album that includes
fluid, inventive clarinet by Pee Wee plus
crisp, slappy phrases by the Hawk. In-
cluded are the respectable talents of Bob
Brookmeyer, Emmet Berry, Jo Jones
and Milt Hinton. . . . African Waltz:
Cannonball Adderly and His Or-
chestra (Riverside). The Ball's first

aQkAY: The Discs and Discers in Orbit This Month

NEWPORT

CHARLES MINGUS
MAX RORCH
ERIC DOLPHY
ROY ELDRIDGE
JO JONES

^J^^i*JB%..

JOZZ OHT1STS GUIUO

album in the big-band area. In the past
season, he lias covered radio and TV but
his alto remains earthy, swinging, know-
ing. . . . Newport Rebels (Candid).
Jazz musicians who think for them-
selve- : Charles Mingus, Max Roach.
Eric Dolphy and Roy Eldridge. They
were among those who rebelled at New-
port in 1960. noting: "The big festival
forgot only music." This is a blowful set,
pungent, swinging, exhilarating. It
should lead to a '"Newport Rebels' Fes-
tival." . . . Griff and Lock: Eddie
Lockjaw Davis and Johnny Griffin
Quintet ( Jazzland ) . Two sax extroverts
who lead from the hips, in a battle of
tenors. . . . Booker Ervin: That's It!
(Candid). A debut album by Booker in
the modern jazz idiom. Charles Mingus
explains him as a "musician-composer"'
who thinks in terms of sounds instead of
"scale" exercises. . . . Charley Park-
er: "Bird" Is Free (Carlton). The
first in newly discovered tapes of the
immortal Parker, jazz angel on earth.
. . . Louis Armstrong and Duke El-
lington (Roulette). Two giants, record-
ed together for the first time. Louis sings
and blows Duke's tunes while the Duke
accompanies. . . . The Best of the
Dukes of Dixieland (Audio Fidelity ) .
A collection of favorites of one of the
most popular groups of the day.

THE CHICKS AND CHUCKS. . . .
Brenda Lee: All the Way (Decca).
A brand-new collection of the youngest
dynamic singer in the business. In
this showcase, the teenager runs from
tender ballads to rock 'n' roll. . . .
The gal due for the big. big build-up
of the season is Ann-Margret (RCA
Victor) . George Burns hired her on sight

i for his club act. Jack Benny used her on
TV, and 20th Century-Fox put her under
contract. For Victor, another of her ad-
mirers, she shows off a remarkable, ver-

" satile voice and goes from blues to bal-
lads to the beat. . . . Paul Anka Sings
His Big 15, Volume 2 (ABC-Para-
mount) . The teen-age genius of the rock

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Cover man: If you liked Mitch Miller this month, you'll love his

color portrait — and all-new story, told in his own words •
Inside story: Steve Allen returns to the Battle of the Big Eye •

Preview: "Merrily We Roll Along" — Groucho Marx steers
the American automobile down Memory Lane in a fun-packed

special • Expose: How Mr. Ed, the talking horse, "talks"!

Behind-the-scenes: Walt Disney creates a "dreamland" for studio

toilers • Myrna Fahey takes over a Liz Taylor glamour role •

Peggy Cass tackles the scene-stealing Marquis Chimps •

All these, and many more — exclusive in the

November issue of TV RADIO MIRROR on sale October 5

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KM: The Discs and Discers in Orbit This Month

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'n' roll set with a second big helping of
his own hits. If a kid of nineteen can
have thirty best-sellers, what more can
you say? ... A Whole Lot of
Frankie: Frankie Avalon (Chancel-
lor). Seventeen of his hits, from "De De
Dinah" up to "Who Else But You,"
culled from the original masters. . . .
Rockin' Hot: Fabian (Chancellor).
Twelve newly recorded tunes that rock
for finger-snapping or dancing. Fabe
sings such as "Tongue Tied" and
"Meanie Little Jeannie." . . . Lloyd
Price Cookin' (ABC-Paramount).
Cooking, all right — pressure cooking,
high-pressure, big-beat, big-band — with
Lloyd and his boys serving up "Deed 1
Do," "Blues in the Night," and others.

THE SOUND OF PERSONALI-
TIES. . . . Leading off is the huge man
from New Orleans, Al Hirt: Dixie-
land (RCA Victor). This is the big, in-
gratiating horn with the popular jazz
sounds that have intrigued the public.
... I Love Paris: Pete Fountain
(Decca). The album notes suggest this
could be called " 'way down upon the
Seine River," for it is a Dixieland clar-
inet that Pete brings to sweet French

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melodies. . . . Andre Previn, His
Piano and Orchestra: A Touch of
Elegance (Columbia). In the title, a
play on words — for Previn gives ro-
mantic interpretations of Duke Elling-
ton's music, backed up with strings.

NEW SOUNDTRACKS, TV,
ETC. . . . Most unusual of the new al-
bums is Radio's Great Old Themes

(Columbia). Frank DeVol and his or-
chestra recreate, in a two-record album,
themes from the most famous radio
shows. . . . Breakfast at Tiffany's
(RCA Victor). From Audrey Hepburn's

Going Into Orbit NEXT Month

ON THE RECORD

New special recording section
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Recording personalities :
The Big Names Making the Big News

The upcoming releases

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They'll Go, Go, Go!

The Golden Dozen:

Sounds of tomorrow headed

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new movie, the soundtrack featuring the
great Mancini sound, the man who be-
came famous overnight with his back-
ground music to TVs Peter Gunn. . . .
Babes in Toyland (Buena Vista).
Original score from Disney's big musical
film starring Annette Funicello. Tommy
Sands. Rav Bolger and Ed Wynn. . . .
King of Kings (MGM). This is the
Miklos Rozsa soundtrack of the new
Biblical film starring Jeffrey Hunter.
. . . The Premise (Vanguard). Sophis-
ticated, satiric sketches taken from the
off-Broadway hit. You get exactly what
New Yorkers hear when they go down to
the Village. . . . Songs from "Bo-
nanza" I MGM). David Rose and his

orchestra give an instrumental treatment
to the TV show's ballads The Roar-
ing 20's: Dorothy Provine (Warner
Bros. I . Music from the TV series, with
the star. Dorothy Provine. accompanied
by The Playboys. . . . Straightaway
I Roulette). Background music from the
new ABC-TV racing series. Maynard
Ferguson is composer and conductor.

A VERY SPECIAL SERIES

Over the years, Dixieland has been re-
styled, recreated, so that literally mil-
lions of people have never heard the real
and wonderful sound. The most cele-
brated recordings of the season have
been the Riverside series described as

"jazz in authentic classic tradition as re-
corded in New Orleans today." The clue
to true fidelity is in the word "today." but
the musicians — Kid Thomas. Sweet
Emma and others — contribute the "au-
thentic sounds" with inner conviction
and reverent exuberance. If there was
ever meant to be a Dixieland revival, this
will do it. Here are a few of the Riverside
titles, available in monaural or stereo:
Billie and Dede Pierce: Vocal
Blues and Cornet in the Classic
Tradition. . . . Kid Thomas and His
Algier Stompers. . . . Sweet Emma
"The Belle Gal" and Her Dixieland
Boys, Featuring Jim Robinson.
(Continued on next page)

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EMPLOYMENT INFORMATION

CHOICE JOBS. ALL Trades. Firms, Addresses, Hiring Pro-
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BUSINESS & MONEY MAKING OPPORTUNITIES

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KAY: The Discs and Discers in Orbit This Month

THE SPOKEN WORD. . . . Tales
of the Bayou: Cajun Pete (Mer-
cury ) . This is not by any means a Bayou
Mort Sahl, but folk-comedy created by
Irvine Johnson, actually a rather sophis-
ticated advertising man. . . . Ain't That
Weird (RCA Victor). The Southern
comedy touch again — fcy Dave Gardner,
who fractures Rebels and Yankees alike.
. . . Larry Storch at the Bon Soir
(Jubilee) . Well-known to TV audiences,
Storch does his club act, including "An
In-Fidel in Cuba" and "James Mason at
Home." . . . Shelley Berman: A Per-
sonal Appearance (Verve). All new
comedy, recent recordings made during
his West Coast tour. . . . Prose from
the Cons (Roulette). A new trend?
This is comedy as done at a prison show
in South Michigan prison, featuring four

«-«STBSJ*~ji'-:'

convicts and recorded live in front of
5,600 inmates. . . . And, at the other ex-
treme, spoken-word albums include a
new achievement in the New Shake-
speare Record Society's complete plays
in album form. Notable is Macbeth, the
most dramatic and exciting play in the
English language. These discs star An-
thony Quayle and Stanley Holloway. . . .
Then on to a most delightful change of
pace, Carl Sandburg's Poems for
Children (Caedmon). All adults who
hear this will expect a child to share the
pleasure.

COUNTRY & WESTERN. . . . New

fall listings include the regulars, as well
as popular singers, all getting into grass
roots music. Leading off is Country
Jubilee (Decca). A gala roundup of
such great names as Red Foley. Webb
Pierce. Bill Monroe. Mervin Shiner and
eight others, with all-time favorites. . . .
Two memorial albums make the news:
The Spirit of Hank Williams
(MGM). Here are the best of MGM's
recollection of the great man's music.

. . . Whoopee John Wilsahrt Golden
Favorites (Decca) is culled from mas-
ters of the late Polka Poppa. . . . Marty
Robbins : Just a Little Sentimental

(Columbia). New sides by the most ad-
mired folk and country singer. And, this
time, pop tunes get his special treatment.
. . . Girls, Guitars and Gibson (RCA
Victor). Don Gibson's Valentine to gals
who dig him most, with "Lonesome
Road," "Cute Little Girls," etc., and
backed up by Nashville's finest guitars.
. . . Tommy Edwards Sings Gold
Country Hits (MGM). All the best-
sellers in the field, with a great pop sing-
er's interpretations. . . . Songs of the
Famous Carter Family: Lester
Flatt and Earl Scruggs (Columbia).
Authentic sounds from the blue-grass
country. . . . Patti Page Sings Coun-

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try and Western Golden Hits (Mer-
cury ) . Patti, born and raised in Okla-
homa, returns to the kind of songs she

knew as a girl To You and Yours:

George Hamilton IV (RCA Victor).
A Nashville product with the stamp of
Chet Atkins. George sings standard
country tunes, from "Where Did the
Sunshine Go" to "Life Is a Railway to
Heaven."

THE EXTRAORDINARY FOLK

SINGERS Tops is The Slightly

Fabulous Limeliters (RCA Victor).
This is the highly talented group that,
on one hand, can be so wild, so funny —
with a ballad about "Vikki Dougan" —
and then turn around and sound like a
trio of angels with "Mount Zion." Only
a must-go-right-out-and-get album. . . .
The Best of Burl Ives (Decca). A
two-record album with 24 very favorite
ballads from "The Blue Tail Fly" to
"Vive La Compagnie." A certain must
for Burl's fans The Clancy Broth-
ers and Tommy Maken (Columbia).
Irish folksongs for laughs and wakes,

including "O'Reilly's Daughter" and
"The Moonshiner." . . . The patriarch
himself. Pete SeegeF: Story Songs
(Columbia I. Always the best and. this
time, recorded live at the Village Gate
with his concert-tour repertoire. . . . On
to The Folksongs of Britain: Songs
of Courtship (Caedmon ) . Alan Lomax.
one of the nation's foremost authorities
on folk songs, with the first of a new
series. The songs in volume one are wist-
ful, simple and hauntingly beautiful. . . .
The ever-popular Joni James gets into
the folk picture with Joni James Sings
Folksongs I MGM I and. for her multi-
tude of fans, this is a new treat. . . . From
a very humorous balladeer. Oscar Brand,
comes a saucy, humorous package.
Oscar Brand: For Doctors Only
( Elektra i . Worth a doctor's fee. ... A

new group bids for your attention. The
Shenandoah Trio (Dot). This is a
young, exuberant three who do both
standards and original folk material.

CLASSIC CUTS. . . . Handsome
young Van Cliburn joins Fritz Reiner
with the Chicago Symphony in a new re-
cording of Beethoven's "Emperor"
Concerto (RCA Victor). . . . The
Plow That Broke the Plains: Sto-
kowski (Vanguard). A new release in
the "Landmarks of American Music"
series. Maestro Stokowski conducts the
Symphony of the Air through Virgil
Thomson's suite from "The River." . . .
Mussorgsky: Pictures at an Exhi-
bition—Ravel: Three Piano Pieces
( Deutsche Gramophon ) . Czech pian-
ist Rudolf Firkusny brilliantly performs
several popular classics. . . . Leonard
Bernstein : Capriccio Italienne—
Francesca da Rimini (Columbia).
Melodious, symphonic favorites with
Bernstein and the New York Philhar-
monic The Vagabond King ( RCA

Victor) . One of the last albums recorded

by the great Lanza. Taped in Italy, with
the chorus added in Hollywood.

UNUSUAL DISCS. . . . Audio Fi-
delity, with a reputation for the very best
in reproducing odd effects, comes up
with Sound Effects, Volume 3. Noises
run the gamut from frying in the kitchen
to the voice of a rhinoceros. . . . Sounds
of Speed (Riverside) is a full sampler
of exciting and thrilling sounds captured
from great cars speeding on the world's
most famous courses. . . . Most truly
unique. Music Minus One Company has
series of new "how to do" albums. Fun
With Drumsticks includes sticks, in-
structions and a recording by an all-star
band. Play the Harmonica includes
an instrument, instruction booklet and a
recording of examples. Play the Uku-

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lele includes instructions by Sydney
Nesbitt and an album. For the vocalist
or instrumentalist : A new disc. Sing or
Play with a Band, offering back-
ground music for the singer or musician.
And, for the classical student, there is
the Beethoven Piano Concerto No. 3,
complete with The Vienna Festival Or-
chestra and conductor. But the soloist is
you — and, for you, the album includes
the piano score.

ORCHESTRAS IN A MOOD. .
Faraway Places with Guy Lom-
bardo (Decca). New cuts with the
country's long-time favorite band. . . .
Dance Music for People Who Don't
Dance Anymore (Riverside). Sy Oli-
ver conducting a fine band through his
own arrangements. If these don't start
you dancing, you're dead! . . . Golden
Waltzes: Billy Vaughn (Dot). More
of the best-selling Vaughn stylings, ap-
plied to a % beat. . . . Percy Faith:
Mucho Gusto (Columbia). The won-
derful one applies himself again to Mex-
ico with the usual superb sound results.

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by HELEN CAMBRIA

• Dick Gregory, hailed as the out-
standing comedian of the year, gained
his fame because he can live with and
laugh about serious racial situations.
In night clubs, on television, and now
on a Colpix album, he spoofs about the
life of a Negro in a sophisticated but
telling fashion.

He'll say, "I'm really for Abe Lincoln.
If it hadn't been for Abe, I'd still be
on the open market." Another line
goes, "I sat at a lunch counter for nine
months. They finally integrated and
didn't have what I wanted." News of
the day is his grist. "I can tell we're
making good in the Congo. Seventy-
three witch doctors joined Blue Cross."

Dick's wit has brought extravagant
praise from audiences and columns of

analysis from critics. Alex Dreier.
ABC's Man On The Go, wrote in the
liner notes he supplied for Dick's al-
bum. "In Living Black and White" :
"This is a mild-mannered young man
. . . more preoccupied with mirth than
mission. . . . He doesn't preach or teach
. . . humor is in him to stay."

A contrasting point of view was taken
by Gilbert Millstein. writing in The
New York Times Magazine: "There is
something a trifle eerie in watching
Gregory run on. considering that what
he is actually doing is a kind of im-
memorial, unchurched racial lament,
a cataloguing of wrongs, a reading of
indictments. The sterner the indictment,
the more convulsed are his listeners."

One of the first to praise Dick,

KAY: The Discs and Discers in Orbit This Month

judging him strictly as an entertainer,
was Herb Lyons of The Chicago Tri-
bune. He wrote. "Dick Gregory is the
hottest and most unusual new talent in
show biz."

It's been said that Dick claimed fame
overnight at the Playboy Club in
Chicago. Closer examination proves his
struggle was worrisome and long. He
was born in St. Louis twenty-eight years
ago. The family had many struggles to
keep going, but were sustained by his
mother's philosophy during their hard-
ships. This helped shape Dick's point
of view. On relief, she told her chil-
dren, "We're broke, not poor. There's
a difference."

A scrawny, sickly kid. Dick took on
hard jobs too soon, but at Sumner
High School he developed both in body
and spirit. He was president of the
senior class, won state titles in track
and was awarded an athletic scholar-
ship to Southern Illinois University.
He majored in business administration
and wanted to teach, but quit school
a semester short of graduation and
found a job in the Chicago Post Office.

Sandwiched between his junior and
senior years was an eighteen-month
Army stint, where his assignment to
Special Services whetted his desire to
entertain. And after the post office
fired him — his superiors did not like his
jokes — Dick determined to make it as
a comedian. His wife, Lillian, en-
couraged him. (They were married in
1959 and now have two children.) Her
salary as a secretary at the University
of Chicago, helped tide over lean years
when each promising booking was fol-
lowed by some crushing failure.

The tide turned when Dick phoned
Herb Lyon. Chicago Tribune columnist,
to invite him to catch his act at the
Roberts Show Club. Negro entertainers
count Herb as a friend — he has given
many of them their first publicity break.
Herb journeyed out to the show club
and. as he told this reporter recently:
"I had no doubt this guy was big-time.
John Daly was in Chicago covering the
Republican Convention. I told him
about Dick. John put him on his ABC-
TV special, 'Cast the First Stone,' a
study of racial problems in the North."

Herb encouraged Dick to audition for
the Playboy Club. Another comedian
fell ill, Dick was called, and his per-
formance that night brought his first
big contract. Now, with his album "In
Living Black and White" a solid suc-
cess, Dick Gregory has it made as the
first stand-up Negro comic to register
with a wide audience in many a year.

Discography : Dick Gregory's current album
is entitled "In Living Black and White"
(Colpix, CP 417). He is recorded a second
album, also jor Colpix, this September.

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by ENID FIFE

• "Anyone who thinks my songs are
nuts," says David Seville (in real life,
Ross Bagdasarian) , "is only half right.
Raisins had just as much to do with
the success of my musical concoctions."
In these words, the composer of such
weirdies as "Witch Doctor" and "The
Chipmunk Song" refers to the fact
that he was born January 27, 1919, in
the grape (and raisin) country of
Fresno, California. His father was in
the vineyard business and, for a while,
it looked as though Ross would follow
in his dad's footsteps.

Two things saved him for show busi-
ness: The first, of course, is talent. The
second, being the cousin of playwright
William Saroyan. "Through Bill, I got
to play the pinball maniac (type cast-
ing, if there ever was any) in his 'Time
of Your Life' hit on Broadway. Then
came the war."

After four years in the Air Corps,
Ross returned to Fresno, met a local
lovely named Armen, and settled down
to raising a family and grapes — with
the customary by-products of wine and

raisins. He had three lean years, then,
in 1949, produced a real bumper crop.
Alas, it was then he discovered the
bottom had fallen out of the grape
market. "That's when I decided grapes
were for the birds. I took my wife, two
children, $200 and an unpublished song,
'Come On-A-My House,' and headed for
Hollywood."

Ross had composed this song almost
ten years before, with the help of cousin
Saroyan, when they were driving from
New York to Fresno after the closing of
Bill's play. Both had forgotten about it
until Ross came across the manuscript
while packing. Columbia Records de-
cided it was right for Rosemary Clooney.
It was a smash hit.

"But you don't get rich on one song,
so I kept acting," Ross explains. His
movie parts got bigger, better. He ap-
peared in "The Proud and the Profane,"
Hitchcock's "Rear Window," and "The
Deep Six." He kept writing songs, too
— among them, "Hey, Brother, Pour
the Wine," "What's the Use" and "Got-
ta Get to Your House." In 1956, he de-

aQkAY: The Discs and Djscers in Orbit This Month

cided to record some of his own work
under another name. Listening to his
version of "Armens Theme" (written
for his wife), the name David Seville
simply popped into his head. "It seemed
to fit the mood." he recalls.

For some time, he had been casting
about for a wacky novelty number.
One afternoon in January, 1958. he
glanced up from his desk and saw a
book entitled "Duel with the Witch
Doctor." Ross says. "Since many of
the top records at that time had the
craziest sort of lyrics. I figured it might
be fun to have the Witch Doctor give
advice to the lovelorn in his own gibber-
ish." Having recorded the orchestra
track, he spent two months trying to
get a "witch doctor's voice." One day.
he sang the words at half-speed into his
tape-recorder, then played it back at
normal speed. Before the first "wallah-
wallah bing" had sounded. Armen and
children were in the room, fascinated
and tickled. Ross knew he'd struck
gold. At Liberty Records, president Si
Waronker flipped over the piece. It sold
close to two million.

No story about Seville-Bagdasarian
can be complete without some mention
of the chipmunks. Trying for a Christ-
mas novelty. Ross was whistling mel-
odies into his tape recorder (his method
of remembering tunes, since he can
neither read nor write music). His idea
was to depict the ringers as animals or
insects, "ju-t to be different." Finally,
he taped a song, the introduction in
his normal speed voice, and the rest
in his half-speed "little voices." His
"little voices" came out, he thought, like
mice or rabbits, but his children dis-
agreed. They heard them as chipmunks.

Still, something was missing for a
real click. He spent months searching
for the answer. Finally. Si Waronker
and Al Bennett of Liberty, along with
Mark Mclntyre. a long-time friend,
suggested his having an argument with
the chipmunks. Thus. Simon (after
Waronker). Theodore (after engineer
Ted Keep) and Alvin (after Bennett)
came to fame and fortune. Moreover,
they've become such hams, they have
insisted on squealing and squawking
through several new songs and now will
be seen over CBS- TV every Wednesday
night in The Alvin Show.

Ross, who signs fan mail and pictures
as David Seville, lives in Beverly Hills
with Armen and their three children,
Carol, 14; Ross Jr., 12; and Adam. 7.

Discography: Albums — "The Music of David
Seville" (Liberty, LRP 3073), "The Witch
Doctor Presents David Seville and His
Friends" (LRP 3092), "Let's All Sing with
the Chipmunks" (LRP 3132/LST 7132),
"Sing Again with the Chipmunks" (LRP
3159/ LST 7159), "Around the World with
the Chipmunks" (LRP 3170/LST 7170).
Seville hit singles include "Rudolph the
Red-Xosed Reindeer" (Liberty 55289).

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1KAY: The Discs and Discers in Orbit This Month

Itsv Bitsv Girl with

the Big, Big Belt I

by LILLA ANDERSON

• Sixteen-year-old Brenda Lee is one
of the tiniest girls in show business.
She stands less than five feet tall and
weighs less than a hundred pounds. It
is a hundred pounds of sheer energy.
When Brenda throws her whole being
into a song, she can belt out a phrase
that will bounce off the back wall of
the biggest of auditoriums without
benefit of microphone, if she so chooses.

But when so much power is com-
pressed into so small a package, some-
thing's got to give — and. often, it is
Brenda's clothes. She has shed shoes
on some of the world's best stages.
When she starts stamping out the beat,
a steel-shanked spike heel can break
off like a match stick. For that emer-
gency. Brenda has found a solution:
"I just kick off the other shoe and finish
my song stocking-footed."

Her real problem is to find stage
gowns which are pretty and dainty as
lace, yet strong as denim. A dress which
is perfectly fitted for Brenda — when
she is standing still — isn't big enough to
hold her voice when she takes a deep
breath and starts belting. Seams split,
fabric tears.

Her manager. Dub Allbritten. tells
how Brenda almost did an involuntary
strip-tease at Chapel Hill. North Caro-
lina: ''The crowd was big and en-
thusiastic. Brenda was enjoying the
show as much as they were, and she
really sang out. Then, long before the
end of the song. I saw her start care-
fully backing offstage. From the wings,
I could see that the whole zipper had
popped open along the back of her
dress. We pinned her up as well as we
could and she took her bow, then did a
quick change. We can laugh about
it now. but we didn't dare to then.
Brenda was embarrassed to tears."

Few misadventures can upset Brenda,
for she has been on stage most of her
young life. The daughter of Ruben and
Grace Tarpley. she was born December
11, 1944, at Atlanta. Georgia. After her
father was killed in an industrial ac-
cident, her mother moved to Nashville.
Before Brenda was into her teens, she
was singing on radio and TV shows.

The big voice has brought big suc-
cess. She celebrated the completion of
her first motion picture. "Two Little
Bears" (20th Century-Fox), by touring
Alaska. Dub says, "To make the swing

around Fairbanks. Juneau. Anchorage
and a couple of Army bases, we traveled
by airplane, seaplane, bus and car.
But Brenda got her biggest thrill when
the Chamber of Commerce at Anchor-
age met her with a dog sled for a
parade down the main street."

Far south, too, her reception was
hectic. At Sydney. Australia, fans
mobbed her at the airport and news-
papers reported she was one of the
few girl singers ever to please the
crowds. At both ends of the earth, she
acquired furs. In Alaska, her admirers
gave her a parka — Brenda's first fur
coat. In Australia, they gave her a toy
koala bear and a kangaroo, both made
of the natural hides.

The bear and kangaroo bring Bren-
da's total collection of stuffed animals
to 160. They are her souvenirs from
about 250.000 miles of travel during the
past year, and from earlier tours which
have taken her to Europe, South Ameri-
ca and virtually every large city in the
United States.

Also decorating her room, at the
Nashville house she shares with her
mother and a younger sister and
brother, is a collection of comic post-
cards, all signed with that much-wanted
autograph. "Fabian." The two young
singers became friends while on the
same tour and. wherever they are, they
keep in touch. Brenda says, "I always
try to find a funny card to send Fabian,
then he looks for a funnier one to send
me."

As the fall entertainment season
opens, Brenda has another crowded
schedule. She may again tour Europe,
she is booked for television shows, and
a new motion picture will soon go into
production. Since so much of her time
is now being spent on the West Coast,
she is registered at Hollywood Profes-
sional School, attending classes while
there and studying by correspondence
when she is on the road. She loves
history, hates arithmetic.

With stardom crowding in on her, the
title of Brenda's new Decca album
seems prophetic. It's called, "All the
Way." .

Discography: Brenda Lee albums include
"All the Way" (Decca 4176/74176), "Emo-
tions" (4104/74104), "This Is Brenda"
(4082/74082), "Brenda Lee" (4039/74039).
Newest single — "Dum Bum" (Decca 31272).

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MET:

the Biggest Trumpet
in the Land

by .JIM MORSE

• One of the biggest products to
emerge from New Orleans in years —
in both size and stature — is a bearded
300-pound, six-foot-plus trumpet player.
Al Hirt, who is 38, has been playing the
trumpet since the age of six, but he
broke into the big-time only last fall,
as a result of a stand at the Dunes in
Las Vegas. Dinah Shore caught one of
his performances, booked him on her
TV program, and he was on his way.

Seldom has a musician captured the
public's fancy as rapidly as Al. He's set
for a minimum of ten dates with Dinah
next season, plus appearances on the
Bell Telephone Hour, The Roaring 20's,

and other TV shows, and he's also lined
up for a movie role. He's booked for
the leading night clubs throughout the
country, and his records have been con-
sistent best-sellers for RCA Victor. His
latest album is "Al ('He's the King')
Hirt," recorded with his own Dixie-
land group.

One of the big reasons for Al's suc-
cess is that he's a personality, as well as
a musician. He believes in showman-
ship. Says he, "A lot of jazzmen play
with the attitude that the audience can't
possibly dig them, and they refuse to
bend even a little bit. That hurts not
only those jazzmen but jazz itself."

Big family, too! Standing with Dad: Sretchen

(left) and Rebecca. Seated (from left): Mary Lee, Rachel,

Brigid, Jennifer, Stephen — and Jefferson Davis,

in Mommy's lap. Children range in age from not-yet-two

(Jefferson Davis) to sixteen-plus (Mary Lee).

A#%KAY: The Discs and Discers in Orbit This Month

A] laughs when he hears himself re-
ferred to as an "overnight" success.
"I'm playing the same way now as I've
played for years, but the public didn't
know of me until Dinah Shore put me
on television."

Hirt attended the Cincinnati Con-
servatory of Music from 1939 to 1941,
when he began a four-year stint in the
Army. Following his discharge as a
sergeant, he began traveling with bands,
including those of Tommy and Jimmy
Dorsey. Ray McKinley, Tony Pastor
and Horace Heidt. Then, tired of the
steady grind of one-nighters, Al re-
turned home to New Orleans, where he
blew his horn in comparative anonymity
for fifteen years.

Although he had numerous offers, Al
was content to stay at home with his
wife, Mary, and their children — the
latter add up to eight. When he finally
did accept an out-of-town engagement.
in Las Vegas, another chapter of show-
business history was written.

Al grew his beard four years ago, as
a gimmick for the Mardi Gras in New
Orleans. "All the boys in my band
grew them. We had some sheik outfits
and thought a beard would go with
them. I haven't cut mine off because —
well, I dig it — and because it's become
a trademark. People say, T don't re-
member his name, but it was the fat guy
with the beard.' "

Although he and Louis Armstrong
are undoubtedly the best-known jazz
trumpet players in the country today,
Al doesn't like to be labeled as a Dixie-
land musician. "I was influenced by
Dixieland, but I want to go on from

there. We do a lot of Dixie things be-
cause it establishes a quick rapport
with the audience. Then when they like
me, I'm able to convey some jazz mes-
sages I couldn't have attempted at the
start."

Thanks to his conservatory training,
Hirt is able to blow the roof off a night
club one night and sit in with a classical
orchestra the next. He has frequently
appeared with the New Orleans Sym-
phony.

Understandably. Al's bulk is a ready
subject for humor. When Archie Moore,
the foxy boxer, offered Hirt his famed
reducing formula, Al replied: "Will it
help me lose an acre?"

Diets are not foreign to Al. However,
he is something like the man who
claimed it was easy to give up smoking
("I know it's easy, because I give up
smoking every day"). Al enjoys food,
both as a consumer and as a chef. New
Orleans is noted for its gourmets, and
Al is one of that city's finest.

Surprisingly, perhaps, he is also
athletically inclined. "The kids and I
play around with soccer, basketball,
football, baseball and other games, both
around and in our home. You visit us,
and you come prepared for action."

He admits he was "flabbergasted"
when movie offers came his way. "I
had no eyes for acting. But, if they
want me to try, I'll be very happy to
make the effort."

Discography: Al's first album, in March,
was "The Greatest Horn in the World"
(RCA Victor, LPM 2366). His second, "Al
(He's the King) Hirt and His Band," is
out in September (RCA Victor, LSP 2354).

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SMILE

HIS

VOICE

Determination and courage — rarely found in
one so young — have brought WEAWs
Bob Greenberg success as "the only deejay
who reads his script in Braille"

On the 13th of September, The Bob Greenberg Show,
which broadcasts each Saturday morning from 11
a.m. to noon over WEAW, Evanston, celebrates its third
birthday. In early July of this year, the show was ex-
panded from thirty-five minutes in length to one hour —
during which period Bob works in Chicago's Adams Ko-
lonial Kitchen restaurant spinning records, handling guest
interviews, presenting an up-to-date lively commentary
on sports developments of the day. For any sixteen-year-
old, this would be considered a remarkable record of
achievement. But, for a young man who's been blind since
birth, it's little short of miraculous. . . . How did it all
happen? The only tragic element of Bob's story is that he's
blind at all, since his sight was lost by accident. One of a
pair of premature twins, Bob survived, the other infant
died. Bob's life was saved by an incubator, but an over-
dose of oxygen made him blind. Luckily for him, Bob's

Ball fan Bob was thrilled by Ernie Banks interview.

SPECIAL MIDWEST STORIES

His manager Larry Gutter has been a constant source of
encouragement to Bob, as have been many teen-age pals.

parents exhibited extraordinary balance in dealing with
this family tragedy, have always encouraged him to re-
gard himself as completely normal and active. Education,
from the ages of 5 to 10 at the Illinois Braille and Sight-
seeing School, helped develop his innate self-reliance
and good-humored attitude toward life even further. Now
a sophomore at Foreman High School, Bob leads a busy
life as a student, but his broadcasting adds enough weekly
hours of work to constitute a man's-size job. In his ear-
liest childhood, Bob became a radio buff, avidly following
all sports events and soaking up background information
on his heroes in baseball, football and other sports. This —
backed by a keen ear for popular music — gave him two
hobbies which were to pay off later professionally. A
lucky meeting with Larry Gutter, an advertising execu-
tive who now manages his career, led to a contact with
WEAW Radio, and Bob was on his way to a vital career.

At home, Bob is almost self-sufficient, but mother
Loretta is always there to help . . . when he needs it.

V
ft

_MMM

WLW-D's Andy Marten has a
perfect way to achieve good
health and good looks.
You can do it, too, by . . .

EXERCISING TO MUSIC

Little did Andy Marten realize in his
youth — when singing in and around the
theaters, radio stations and clubs of Phila-
delphia— that he would eventually become
best known as an exercise instructor on TV.
At that time, TV was still a vague electronic
term, and his only participation in calisthen-
ics was while in training for the basketball,
baseball, football and track teams at Frank-
ford High School. His real aspiration was to
sing his way into motion pictures, and he had
made some progress toward that end, with a
definite start in radio at the age of seven. . . .
Upon graduation from high school, at the
age of seventeen, Andy set out from Philly
on his "show biz" career. A year went by and
he had gotten no farther than Miami, Florida.
Night-club work did not particularly appeal
to Andy at the time, but it looked, after a
year, as if this might be his fate. He decided
to go to college to study law. ... In his senior
year at Muhlenberg College, Allentown,
Pennsylvania, Andy was called into the U.S.
Navy, assigned to U.S.N. Physical Instruc-
tor's School at Bainbridge, Maryland. His
athletic background, swimming ability, and
experience in the entertainment field were
the factors considered by the Navy as quali-
fications, because Navy athletic specialists
were often called upon to direct the enter-
tainment program, as well as the physical fit-
ness and sports programs, for the Naval per-
sonnel. . . . After three years, Andy went
back to college. His bachelor's degree was
conferred upon him at Lycoming College in
Williamsport, Pennsylvania. . . . Abandon-
ing his previous law school plans, Andy de-
cided to go into business administration, and,
within two years, had achieved the enviable
position of one of the largest food specialty
distributors in the state — but felt a gradual
dwindling of incentive to go on. He quickly
sold out his business and accepted a job as
air-conditioning and commercial refrigera-
tion salesman-engineer. Within six months,
he was promoted to advertising manager.
Suddenly, one early autumn day, he resigned.

Andy loves to cook . . . especially, preparing salads.

He invested the next seven months and his
entire savings in training for radio and/or
TV. Upon completion of his studies, Andy's
very first job was a staff announcing assign-
ment at WLW-D in Dayton, Ohio. . . . One of
his various assignments as a staff man was
hosting the morning movie program at 9,
A.M. Theater. Just three months after the
inception of the show, it occurred to Andy
that his audience, which consists predomi-
nantly of housewives, would enjoy and ap-
preciate a fifteen-minute period of exer-
cises prior to the film presentation. He put
the question to his audience. The response
was overwhelming. . . . So, on a cold, wintry
morning in January of 1959, Andy stepped
in front of the cameras, decked out in gym
shirt and pants, and started contorting with
gusto. Andy's own innovation of recording
the comments, instructions, commands and
music on audio-tape — to play while he dem-
onstrated the exercises live — proved to be
an efficient and entertaining method of pres-
entation. His careful selection of accom-
panying music was instrumental, too, in the
viewer-acceptance of the show. Another fac-
tor that has undoubtedly contributed to the
general acceptance of Andy's show is the
fact that he requires no gimmicks. All that
is ever needed, to follow him through the
daily routine, is desire, a mop handle, two
grocery tins and a chair or stool. . . . He
opens the show with five minutes of just
plain talk. The topics include everything
from diet and nutrition to politics, railroad -
crossing protection, capital punishment and
the latest in scientific achievements. . . .
Andy often interviews celebrities at the end
of the movie. . . . Bachelor Andy golfs sev-
eral times weekly during most of the year,
but prefers to swim when the weather is hot.
He enjoys tennis occasionally, too. In winter,
he bowls and is active as an actor with the

Oakwood-Kettering Community Theater

And what about Andy's heart interest? Right
now, Monica, 7, and Andrea, 5 — his daughters
by a former marriage — have top billing.

A special program — with lovely singing McGuire Sisters.

Kids love Andy — often accompany him to sporting events.

HE'S AN OPTIMIST

Don Bruce has a happy goal: To brighten the
lives of his WRIT listeners with "upbeat" music

On-show, Don talks with singer Jimmie Rodgers.

Chatting with WRIT's "Tiger Girl" — all-night deejay for station.

The Bruce family at home — Don, his wife Peggy, son Mark, I '/^ -

■ "My show features up-tempo, happy-
sounding music with the thought that optim-
ism lightens the task for my listeners after
a busy day." So speaks happy Don Bruce,
whose Monday through Sunday, 3 to 7 p.m.
deejay show is heard on WRIT in Milwaukee,
Wisconsin. . . . Massachusetts -born Don
came by his enthusiasm for music and broad-
casting at the early age of 7. At that time, he
appeared on a program called Music Kids
Quiz, on WCOP in Boston. "From that early
and fascinating experience, an interest in
radio was created in me," he says, "and it has
never waned since." Just to give him solid
background in the field, Don majored in
radio, TV and dramatic arts at Syracuse
University and Boston University. . . . Don
met his pretty wife Peggy on a blind date
in Salt Lake City. Says he, "It was a whirl-
wind courtship . . . we were married six
months later." Today, together with their
son Mark, 1%, they live in suburban Wau-
watosa, and are looking forward to an addi-
tion to the family in December. . . . Don
describes himself as a "golf addict." He also
appears at the Wauwatosa Village Playhouse
and with other non-professional groups,
whenever he gets the chance.

NEXT-DOOR
NEIGHBOR

Polly Weedman is just that to her KOTA
listeners as she covers "every subject
under the sun and around the earth'"

When not busy interviewing (with Agnes Moore-
head below), Polly relaxes at home with "Tyke."

Flower basket is presented to Polly in com-
memoration of her 5,000 broadcasts for KOTA.

■ KOTA's Polly Anne Weedman is truly a gal who ex-
changed her mirror for a window and, through it, she
sees the world and interprets it in her own inimitable
way to her listening friends in and around Rapid City,
South Dakota. To them, she is like a next-door neighbor,
the purveyor of all kinds of information, from the stories
on national, state and local news, to tips on wedding
etiquette or suggestions about how to help Junior get
over his temper tantrums. . . . Polly likes and under-
stands women. She keeps her fingers firmly on the pulse
of their interests, activities and thinking. Because she
herself has such a wide variety of interests, she widens
the four walls of her listeners' homes to include the four
corners of the world. It's no wonder then that her 11:30

to 12 daily show is so popular. . . . Polly has been mar-
ried for twenty-four years to her college sweetheart,
George Weedman, of whom she says affectionately, "He
is my greatest admirer and severest critic." They have two
children: Dick, who will soon be a junior at Macalester
College in St. Paul; and George-Anne, who is a senior at
the University of Arizona. . . . Polly's hobbies include
playing the piano, listening to records and writing plays
and scenarios. However, her favorite pastime is "riding
horseback through the wooded trails of the beautiful
Black Hills." ... To sum up the philosophy of Polly Anne
Weedman: She's practically the original "glad girl." She
enjoys life and people; lives each moment to its fullest
. . . and wouldn't trade places with anyone in the world.

HOLLYWOOD!
ENLARGEMENTS

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What's New

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' not delighted retur

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On location in Honolulu for Follozv The Sun — Gary Lockwood and Barry Coe.

spent $400,000 changing its decor to
get ready for the Champagne Music
Makers, and dozens of celebrities
were on hand for the greatest first-
night in the Palladium's twenty-one
years. Welk has signed a "lifetime"
contract with the nitery. . . . Bruce
Yarnell, six-foot-five star of The
Outlaws, can't understand why ceil-
ings in most new buildings are lower
than in the old days. "Don't architects
bother to check statistics?" he asks.
"If they did, they'd discover that peo-
ple are growing taller — not shorter."
. . . Organ grinder Tony Cappasola,
a familiar sight at Pacific Ocean Park
in Santa Monica, with his monkey
Mario, reports that he's one of a van-
ishing breed. There are less than fif-
teen full-time organ grinders left in
the U. S., with eight of them working
in California, says Tony.

Just The Facts, Ma'am: When
Carol Lawrence, star of Broadway's

"West Side Story," returned to New
York after doing a G-E Theater
show with Ronald Reagan, some girl
friends met her at the airfield. "Oh,
Carol, how was Hollywood? What
happened?" Carol shrugged sadly,
"Just about everything. In one scene,
I was supposed to light candles— and
my hair caught fire. Then I tripped
on the carpet — and ruptured a blood
vessel in my left leg. The smog af^
fected me so much I could hardly
breathe. And when I tried to beat it
by driving to the shore, I got a flat
tire — and lost my bag while it was
being fixed." At this point, her
friends broke in impatiently, "No, no,
skip the details, Carol. Did you like
Ronald Reagan . . . did you meet
Cary Grant or Elvis Presley? What
happened?"

A Man in a Million : Bachelor gal
Barbara Nichols has complained
(Continued on page 84)

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It's brimming over
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toys, novelties galore.
Make your gifts early!

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about the Hollywood male animal:
"he's too conforming . . . I'd like to
find something different in a man."
The lively blonde has now got her
wish. With the appearance of Mario
Costello, rancher-turned-actor, she
has found a man who, she says, is
"completely different." Asked to ex-
plain, Babs cooed, "Well, on our first
date, he called at my place and al-
most the first thing he said was:
'Look into my eyes.' That sounded
kind of corny but romantic, so I
did. And guess what? Mario was
wearing contact-lens specials — one
with an American flag painted on it.
the other a Confederate banner!"

Call Me Speedy: In ABC-TV's
new show Straightaway, Brian Kelly
is a racing-car driver, but he may no
longer do his own stunting. The first
time the ex-Notre Dame athlete got
behind the wheel for a big scene, he
ploughed through the camera stand.
Amid the uproar and confusion, Brian
calmly picked himself out of the
debris and announced, "The car had
bad brakes." A few days later, he was
to drive an expensive Italian job,
rented for the scene. Just as he got in
and stepped on the starter, an actress
friend appeared on the set and Brian,
always the gentleman, hopped out to
say hello. The car shot off by itself
and ended up against a concrete wall.
But most embarrassing to Brian was
his trip home last winter. Home is in
Detroit, where the snows were fifteen
feet high on some roads. His family
kidded him about leaving the city of
autos to go to Hollywood in search of
greater opportunity as an actor, only
to wind up on TV driving a car. To
prove his skill as a racer, Brian
jumped into his car, sped along the
boulevard in front of the Kelly home,

What's New

(Continued from page 82)

then put the machine into a skid-
turn. The car turned, but Brian did
not. He sailed into one snow bank,
the car into another. After digging
himself out, Brian found himself fac-
ing the stern humor of his father.
"Young man," said Judge Harry
Kelly, "are you hurt?" Brian smiled,
"No, dad, wasn't even scratched."
Judge Kelly nodded, "All right,
Speedy . . . then I'll see you in my
court tomorrow, and you'd better
bring some of that Hollywood loot to
bail yourself out."

Playing the Field: Bob Cum-
mings, whose "How to Stay Young
and Vital" hit the best-seller list, is
almost finished with his second book.
His first emphasized health and the
importance of vitamins, but the new

Robert Colbert (a Jim Garner look-
alike) is newest Maverick brother.

When not on TV (with Harry Morgan)
Cara Williams nits the night-spots.

book will delve into his personal phi-
losophy. . . . Pat Buttram of CBS
comes up with this bit of wisdom:
"Those who say that radio is old-
fashioned should remember that you
still can't carry a TV set in your
pocket." . . . The new season's Rifle-
man will have Joan Taylor's romance
with Chuck Connors built up — but no
marriage. Johnny Crawford won't be
slighted in the love department
either. Two scripts have him slated
for "girl" trouble. . . . Fabian admits
he finally got his first Hollywood
crush — on Nancy Kwan. Both stayed
at the Chateau Marmont during re-
cent Hollywood visits. The first time
Fabe saw her, he admits, he was
speechless at the sight. "She smilad
at me as if I were twelve years old,"
mourned the fabulous one, "but I

3 Philadelphians — Frankie Avalon,
Joey Bishop, Fabian — meet in Calif.

couldn't move a muscle until she'd
gone up to her room."

Viva Ziva : We've all heard of the
Venus of Milo. Well, Ziva Rodann is
liable to become the Venus of Venus,
if explorer-scientist Herbert Haydon
of' London has his way. He's invited
the stunning, dark Israeli actress to
join him in a flight to the bright
planet, and he's not joking. He says
the journey will be made in a flying
saucer and Ziva will be the first
earth-woman to land on Venus. Said
Ziva, "Only one word stopped me
from saying yes. If he'd written,
You'll be the first earth-woman to
land safely on Venus,' I might have
taken him up."

Look-Alikes: Robert Colbert, lat-
est entry in Maverick, was brought
in, Warner Bros, is frank to admit,
because he is almost a dead ringer for
James Garner. Popularity of the se-
ries has been on the decline since Jim
departed eighteen months ago, and
it's hoped Bob will revive an inter-
est. Bob and Jim have several things
in common: Both made their acting
debuts in the play "Caine Mutiny
Court-Martial" — Bob in a stock com-
pany, while serving as a G.I. in Oki-
nawa, and Jim on Broadway. Both
worked at one time as oil riggers;
both are expert golfers; both are pals
of Efrem Zimbalist Jr. But only Bob
has been influenced by Ef 's No. 1 hob-
by— restoring old cars. When Bob
took a drive in Ef's 1934 Packard
Phaeton, he promptly asked his pal to
line up an "oldie" for him. Ef located
a 1930 Cadillac roadster for Bob, and
the pair are spending lunch hoT is
nose-Beep in sparkplugs and grease.
"She'll be completely restored," Bob
reports happily, "by Christmas."
Meanwhile, a motor-scooter is his
only transportation.

~~-)ew ^Ar

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Y SAM
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POST GRADUATE SCHOOL OF NURSING

Room 9R111 - 131 S. Wabash Ave., Chicago 3, III.

Send me, without obligation, your FREE sample lesson
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NAME.

POST GRADUATE SCHOOL OF NURSING

Room 9R111 - 131 S. Wabash Ave., Chicago 3, III.
Send me, without obligation, your FREE sample lesson
pages, and your FREE folder "Nursing Facts."
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NOVEMBER, 1961

MIDWEST EDITION

VOL. 56, NO. 6

Ann Mosher, Editor Jack Zasorin, Art Director

Teresa Buxton, Managing Editor Frances Maly, Associate Art Director

Lorraine Biear, Associate Editor Eunice Field, West Coast Representative

Tampax® internal sanitary protection
is available in three absorbencies —
Regular, Super and Junior — wherever
such products are sold. Tampax Incor-
porated, Palmer, Mass.

Invented by a doctor —
now used by millions ol women

STORIES OF" THE STARS

8 Merrily We Roll Along (A TV special with Groucho Marx)
12 Make Mine Music by Mitch Miller

14 The Champ Who Took On the Chimps (Peggy Cass) by Martin Cohen
16 A Top Comedy Writer Talks About His Craft (Nat Hiken)

by James Taylor
18 The Disney Studio: Dreamland for Daytime Toilers
22 Kathy Nolan: My Daring, Darling Daughter by Stephen Ellsworth

as told to Tex Maddox
24 The Beauty on a Ticker-Tape Tangent (Myrna Fahey)

by Maurine Remenih
26 M.R.L. Means "Meet Robert Logan" by Roger Beck
30 Mary Tyler Moore by Bill Kelsay

32 Steve Allen's Return to the Battle of the Big Eye by Kathleen Post
36 Juvenile Delinquency vs. TV (Dr. Joyce Brothers) by Frances Kish
38 The Kuklapolitans Return by Helen Bolstad

40 America's Newest Waker-Upper (John Chancellor) by Herbert Kamm
42 Mr. Ed: The Horse Human

44 On Your Mark (Sonny Fox) by Helen Cambria
46 Fred MacMurray's "Second Son" (Don Grady) by Nancy Anderson

NEW RECORDING SECTION

80A On The Record: Special 8-page Magazine Within a Magazine

SPECIAL MIDWEST STORIES

49 The All-Day Everyday Wonder (Jergen Nash of WCCO)

50 Skipper Ahoy! (Glenn Ryle of WKRC-TV)
52 Happy New WERE (WERE)

54 Tenth Hour Commentator (Jim Conway of WGN-TV)

FUN AND SERVICE FEATURES

3 Information Booth

4 What's New on the East Coast by Peter Abbott
6 What's New on the West Coast by Eunice Field

48 Beauty: Easy on the Eyes (Lee Lawson of Love Of Life) by June Clark

56 New Patterns for You (smart wardrobe suggestions)

62 New Designs for Living (needlecraft and transfer patterns)

Cover Portrait of Mitch Miller by Don Hunstein of Columbia Records

Published Monthly by Macfadden Publications, Inc.
Executive, Advertising, and Editorial Offices at 205 E.
42nd St., New York, N. Y. Editorial Branch Office, 434
N. Rodeo Dr., Beverly Hills, Calif. Irving S. Manheimer,
Chairman of the Board; Gerald A. Bartell, President;
Frederick A. Klein, Executive Vice-President — General
Manager; Robert L. Young, Vice-President; S. N. Himmel-
man, Vice-President; Lee Bartell, Secretary. Advertising
offices also in Chicago and San Francisco.

Foreign editions handled through Macfadden Publications
International Corp., 205 East 42nd Street, N. Y. 17, N. Y.
Gerald A. Bartell, Pres.; Douglas Lockhart, Vice-Pres.

Re-entered as Second Class matter, June 28, 1954, at the
Post Office at New York, N. Y., under the Act of March

3, 1879. Second-class postage paid at New York, N. Y.,
and other post offices. Authorized as Second Class matter
by the Post Ofrce Department, Ottawa, Ontario, Canada.
© 1961 by Macfadden Publications, Inc. All rights
reserved. Copyright under the Universal Copyright Con-
vention and International Copyright Convention, Copy-
right reserved under the Pan American Copyright Con-
vention. Todos derechos reservados segun La Convencion
Panamericana de Propiedad Literaria y Artistica. Title
■ trademark registered in U.S. Patent Office. Printed in
U.S.A. by Art Color Printing Co.
Member of the Macfadden Women's Group.
Subscription Rates: In the U.S., its Possessions, & Canada,
one year, $3.00; two years, $5; three years, $7.50. All
other countries, $5.50 per year.

Change of Address: 6 weeks' notice essential. When
possible please furnish stencil-impression address from
a recent issue. Address changes can be made only if you
send us your old as well as your new address. Write to
TV RADIO MIRROR, Macfadden Publications, Inc., 205
East 42nd Street, New York 17, New York.

buy your December issue early • On sale November 7

Information
Booth

SOME QUICKIES

Please tell me if Dorothy Collins is
married and to whom.

A.B.K., Bryan, Texas

Dorothy is married to bandleader Ray-
mond Scott.

Can you tell me where and when
Tommy Kirk was born?

B.W ., Gardner, Kansas

He was born in Louisville. Kentucky,
on December 10, 1941.

Can you tell me if Gardner McKay
and Anthony George are related?

S.B., May wood, California
They are not related.

IT hat is the hometown of Lawrence
Welk?

S.E., Hills, loiva

Lawrence was born in Strasburg. North
Dakota.

What is the birthdate of Richard Eyer?
J.M., Cheektowaga, New York
Richard was born on May 6, 1945.

Calling All Fans

The following fan clubs invite new
members. If you are interested, write to
address given — not to TV Radio Mirror.

Michael London Fan Club, Geraldine
Aucne. 812 Hussa St.. Linden, N. J.

I an H illiams Fan Club, Audrey Cun-
ningham. 316 W. Long St.. Akron 1. 0.

Brenda Lee Fan Club, Anna Nielson
and Bonnie Crawford. 5046 S. 4660 West,
Kearns 18. Utah.

Bess Myerson Fan Club, Bette Petko-
vich. 1110 Thorn wood Drive, St. Louis
24. Missouri.

Tony Orlando Fan Club, Diane Green,
614 10 Street. Union City, N. J.

Paul Picerni Fan Club, Jane Campan-
ella. 301 E. 108 St.. New York 29, N. Y.

Rod Serling Fan Club, Carol Rosen-
thal. 648 Scranton Ave.. Lynbrook, Long
Island. New York.

Joanie Sommers Fan Club, Darlene
f Spivey. Box 1198. Estevan, Saskatchewan,
Canada.

COOL, SOFT, NEW MAGICOOL

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Perma'lift Stylist

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•Reg. U. S. Pat. Off.

Cycling is hobby of Johnny Crawford, canine pal.

Bound for wild blue yonder in his
new CBS-TV series: Bob Cummings.

T For What's JVcit? on the
v West Coast, See Page 6

M.M. Says Yes: NBC put $125,000 in
the Marilyn Monroe vehicle "Rain"
before it became a lost cause, but
M.M. is narrating part of NBC's
special "USO— Wherever They Go!",
slated for TV showing October 29.
The program will feature film clips
of the acts and tours of Jack Benny,
Bing Crosby, Danny Kaye, Joe E.
Brown, Debbie Reynolds and others,
including M.M. in that famous white
dress while entertaining U.S. troops
overseas. . . . Good possibility Bert
Parks will return to TV with a quiz,

Yours For A Song, via ABC -TV

Lee Remick and George Maharis
will do a feature film together. . . .
CBS working hard to reunite Jackie
Gleason and Art Carney in a new
hour-long show featuring "The
Honey mooners." . . . Nanette Fabray
booking in the stork again.

TV Bits: Don't let anyone tell
you television is in a slump. The
networks' gross take for the new
season expected to be 100-million
over last year. . . . Jazz trumpeter
Bobby Hackett joins ABC's musical
staff. . . . October 24 marks the pre-
miere of the new Westinghouse se-
ries. The first drama will be Saul
Levitt's "The Dispossessed." . . . New

York's funny gal Pat Carroll signed
for six episodes on The Danny
Thomas Show. She will play the
wife of Danny's agent, a role filled
by Sid Melton. . . . Sale of rock 'n'
roll records 'way off. Disc companies
feel it's time for a new musical fad
and predict the discovery of new
stars and new singing styles. . . .
Guest stars for Wagon Train this
season will include Ann Blyth, Jo-
seph Cotten, Barbara Stanwyck, Jan
Sterling and Bette Davis. ... Ed
Sullivan closed a big deal with Sid
Caesar. Latter will do four shows for
Ed and, on each, work two different
spots. First appearance, October 8.
Same night, Ed presents Joan Suth-
erland, the very famous Australian
opera singer. . . . Paarsnip: Jack de-
scribes Charley Weaver as a "dis-
aster area on legs."

Western Rumble: Van Heflin
makes his TV debut this season on
the hour-long new Dick Powell
Show, in an episode titled "Rico-
chet." Peggy Lee also up to star in
the series. . . . Criticism of TV vio-
lence affects the format of The Out-
laws. Last season, the emphasis was
on the bad guys but this year the
lawmen will get equal exposure. . . .

Robert Harland, Stephen McNolly in
scene from Target: The Corrnptors.

Racy, handsome actors — John Ashley,
Brian Kelly — highlight Straightaway.

by PETER ABBOTT

TV's Lawman may have exciting new
plans for attractive Peggie Castle.

Pretty Sandy Stewart, one of the
featured singers on Sing Along With
Mitch, engaged to songwriter Mark
Charlap. . . . Sebastian Cabot, of
Checkmate, paged by Red Skelton
to come back this season and do
another episode. . . . And now, "Son
of Video Village" or Video Village,
Jr. Edition. So popular with young-
sters is the quiz show that a kiddie
version makes the CBS-TV network
Saturday mornings. . . . Bell Tele-
phone Hour salutes autumn October
13, via NBC -TV, with Gordon and
Sheila MacRae, Anita Bryant, Jan
Peerce and lovely Met star Gianna
d'Angelo. . . . Betsy Palmer taking
singing lessons. Would love to do a
musical. . . The Tall Man's Barry
Sullivan brushed through N.Y.C.
after making a movie in Italy with
Anita Ekberg. . . . Lawman series
threatening to revolutionize West-
erns. The hint is out that the Mar-
shal, John Russell, will marry his
Lily, Peggie Castle. Couldn't be. . . .
Henry Morgan says any husband
who has to ask his wife's opinion
hasn't been listening — but that's out
of a bachelor's mouth.

Oddball Gambit: ABC-TV comes
up with a big one October 19. Jane

Powell, Hans Conried and Hugh
O'Brian star in a musical comedy
version of Nathaniel Hawthorne's
story, "Feathertop." Hugh is cast as
a scarecrow who captures the imagi-
nation of Miss Powell. . . . Diane
McBain, of SurfSide 6, high up for
the fern lead in movie version of
"Camelot." . . . Dorothy Collins will
do a minimum of twenty shows with
Candid Camera. . . . G-E Theater
feeling brave about doing a musical,
now that Dinah Shore is not the op-
position. Trying to get Belafonte to
star in an hour production of Kurt
Weill's "Down in the Valley." . . .
Worthwhile programing at ABC-TV
on Sunday afternoons, with Adlai
Stevenson, U.S. Ambassador to the
U.N., in bi-weekly discussions of
world affairs. With the Ambassador
will be Arnold Michaelis, who pro-
duced incisive "portraits" of Eleanor
Roosevelt, Nehru, Richard Rodgers
and others. Co -producer is Stanley
Frankel, a long-time friend of Ste-
venson's. . . . Bob Banner, producer
of the Garry Moore and Allen Funt
shows, explains the shortage of adult
drama on TV: "To have a good
rating, a show must draw both an
adult and child audience — and chil-

dren just aren't interested in good
drama." . . . Mel Blanc, Barney Rub-
ble's voice on The Flintstones, re-
covering nicely from his near-fatal
auto smash -up.

Casting Ahead: Everyone in-
trigued by the oddball casting of
NBC-TV's "The Battle of the Paper
Bullets," scheduled for October 15.
The teledrama is a serious one about
the Nazis trying to break the Allies'
economy by flooding the world mar-
ket with counterfeit money. The cast
includes comedian Jerry Lester as a
Hungarian gypsy, romantic Cesar
Romero as an Austrian Jew in a
concentration camp, fighter Lou
Nova as an S.S. guard — and another
comic, Cliff Norton, as Hitler. New-
comer Enzo Stuarti plays another
prison inmate . . . and take a good
look at this man. A singer in his
early thirties, he has come from
years of getting nowhere to a month-
ly appearance with Paar, an up-
coming Telephone Hour show and
is being considered for the title role
in a TV tribute to Enrico Caruso.
. . . Dave Nelson, a brand-new
bridegroom, will show up in the t
Ozzie And Harriet episodes this v
{Continued on page 80)

TV's Paul Brinegar, a bachelor,
knows the secret of a good meal.

WHAT'S NEW ON

THE WEST COAST

by EUNICE FIELD

''HllffMIIMI

Poncie Ponce has new business and eager customer — Connie Stevens.

A Slice of Life: Ann Doran, who is
the mother on National Velvet, had
just finished a baking scene. The
producer of the series rushed over
with words of praise. "That scene
was so real I could almost smell the
cake," he announced. Ann, with a
wink at the grinning technicians,
walked to the stove and drew forth
a still-steaming cake. It seems that
the crew, having heard of her prow-
ess in the kitchen, had hopefully
equipped the set with a real stove!
The Immovable Object: Ray-
mond (Dr. Gillespie) Massey may
not look the rugged type, but out at
MGM, they're still talking about the
day when he ambled off the set of
his Dr. Kildare series and out to
watch a segment of Rawhide being
shot. It seems that some of the cattle
became maddened and began to
stampede toward camera and ac-
tors. Everyone, including he-men
Clint Eastwood and Eric Fleming,
scattered. All but Massey, that is.
The veteran star sat fixed in his
chair, staring straight into the eyes
of the onrushing lead steer. The
crowd waited in agonizing fear for
this collision of irresistible force
and immovable object. At the very
last instant, the animal swerved,
missing Massey by ten feet and the
other cattle followed. The damage
was considerable. Cameras were

smashed and light equipment
ruined. "Tell the truth," demanded
Fleming and Eastwood. "You were
too scared to move." "Well," chuck-
led Massey, "you see, I wrangled
cattle as a boy and I knew that
when they stampede it's usually
toward one object and I could see
that it was the sun shining on the
reflectors that upset them. So I fig-
ured I was safe by a few feet at
least. The fact is, I was too moved
by the spectacle to scare."

High Style but Not by Design:
Pigtailed Molly Bee has success-
fully made the jump from little-girl
warbler to suave, chic chanteuse.
Before her marriage, she was in-
vited to Hollywood's social affair of
the year, The Academy Awards.
Naturally, Molly wanted to make a
large entrance. Her greatest worry
was her dress. For some reason, she
felt sure the creation (light blue
with a full skirt of 40 yards of tulle)
would also be worn by another
actress. Her coutourier's assurances
did not help. "I'm sure Diane
McBain or some other starlet will
turn up in the same thing," she
wailed. The big night came. Molly
and date arrived at the theater and
put on the usual brave smiles as
they stepped out of the car and
slammed the door. To Molly's hor-
ror, the limousine rolled off — with

at least 20 yards of tulle. But Molly,
glancing down at the havoc, sud-
denly had a cheerful comment.
"Now I feel sure nobody else will
have a copy of my dress."

Playing the Field: Stony-faced
Marshal Dan Troop may be in for
his first kiss in his Lawman series,
which has gone for three seasons
without his getting bussed. But John
Russell, who plays the Marshal,
balked at the idea when it was
kicked around by producer Jules
Schermer. "Troop is the Lancelot
not the Lochinvar of Laramie," he
argued, and is polling his fan clubs
to get their opinions. . . . Famed
MGM beauty of yesteryear, Edna
Skinner, has scampered back to the
old haunts of Hollywood as co-star
in the Mr. Ed series. . . . Love Goes
Round and Round and It Comes Out
Where? Ric Marlow dates Valerie
Allen who used to date Edd Byrnes
who now dates Leslie Parrish who
was once married to Ric Marlow. . . .
That tall, handsome young man on
the set of Target: The Corruptors
every day last summer wasn't an
actor but Horace McNally Jr., who
was working as pop Stephen's
stand-in. Young McNally reported
back to Loyola in September, plans
to finish college before pursuing a
writing career. He's the oldest of
the eight McNally children. . . .

The Xational I civet crew is very
well fed . . . thanks to Ann Doran.

No surprise these are look-alikes —
they're Stephen McNally, son Horace.

Can you picture Efrem Zimbalist's
beautiful hair covered with a cap?

Introduction of handsome Karl Held
into the Perry Mason series may
mean a "romantic" break, too. Held
will portray David Gideon, an eager
young law student hero-worshiper
of Mason who helps out in the office
from time to time. And there's no
reason why the new character can't
occasionally become romantically
involved with a client — something
Mason never does.

To Cap the Climate: A gent
named Edward M. Meyers, of the
National Cloth Hat Institute, has
been having a rough time trying to
clamp "the lid" on our male stars.
He would like them to wear cloth
hats on their shows and his prime
target was Efrem Zimbalist Jr.
Meyers was sure Eff could do as
much for caps as "Kookie" Byrnes
did for combs. The Warner execs,
however, wary of any danger to
their successful 77 Sunset Strip,
wouldn't go for the idea. "Zimbal-
ist's allure for women fans is partly
based on his beautiful mop of hair,"
said the front office. "Putting a hat
on it would be like putting Eliza-
beth Taylor in a muu-muu." Meyers
got one break, from bearded Sebas-
tian Cabot, who promised to con-
tinue wearing his hat as often as

possible on Checkmate. Said Cabot,
"It's not just that I feel hats are
what vitamins are to food, a needed
supplement to character . . . it's that
soundstages are so terribly drafty."

It's Greek to Angela : Eight-year-
old Angela Cartwright does a varia-
tion on the ancient Greek saying
about "a healthy mind in a healthy
body." She believes a clean body
makes for a strong memory and
learns her lines for The Danny
Thomas Show while scrub-a-dub-
bing in the tub.

Thinking Ahead: Jack Kelly, this
season's one-and-only Maverick, is
busy with a new project — installing
a bomb shelter in his home. Jack
believes the survival of the country
depends on the survival of its in-
dividual citizens.

The Range-Finder: It'll mark the
fifth consecutive year that Donald
O'Connor has been away from home
during Christmas when he opens De-
cember 22 at the Sahara Hotel in
Las Vegas. But, this year, he won't
be opening his presents alone. Don-
ald will charter two busses so he
can have his relatives and friends
brought up from Los Angeles to
enjoy the Yule with him. . . . Darryl
Hickman just bought a twenty-unit

apartment house in Beverly Hills.
"Security for my old age," the
thirty-year-old actor explained.
Although his show, The Americans,
was cancelled, Darryl isn't really
worried. He just sold two more tele-
plays to Four Star Productions.

In Self -Defense: Because so many
TV shows are featuring karate in
scenes of struggle, it has become as
important for actors to master this
art of mayhem as it once was to
learn fencing. With this in mind,
Poncie Ponce has opened a karate
school. His first two students were
probably the best-looking pupils in
town, Connie Stevens and Bob Con-
rad. Since Poncie's star instructor
is John Leoning, who plays a police-
man in the series, the Eye (Ha-
waiian as well as private) is in full
control. The enrollment has been
limited to 200, all carefully screened.
"Business is booming," says Poncie
with a grin, "but it gives me night-
mares— what if one of my students
proved to be a homicidal maniac?"

Stunting Is a Dog's Life: In
Bend, Oregon, during a 90-degree
hot spell, a segment of Have Gun,
Will Travel was being shot. The
scene called for a wolf dog to crouch
on a huge (Continued on page 80)

For What's New On The East Coast, See Page 4

Merrily We Boll Along

Host Groucho Marx introduces
his own favorite means for
getting through traffic jams.
"There are still a few
bugs in it . . . and there
are also a few bugs on it."

With Groucho Marx at the wheel,
in this month's speediest special

■ Later this month, on October 22, the
talented Project 20 group at NBC will unveil
a Du Pont Show Of The Week tracing the
dramatic changes in automobiles from the day
when Henry Ford rolled down the road in
the first Model A. Describing the show, Don-
ald B. Hyatt says, "Basically, this will be an
entertainment show, not a sociological docu-
ment on the car. The impact of the auto-
mobile on America has been far-reaching,
and we'll portray some of the large-scale
changes it has brought about. But our ap-
proach will be more from the pleasure it has
given the American people — a personalized
approach." The pictures shown here repre-
sent a portion of the special film shot for the
show, with host Groucho Marx, plus other
illustrative material. This lively hour TV
show will include early film from Detroit,
from early movies, from newsreel archives
and other sources.
The transition from the horse to the sleek,

"Merrily We Roll Along" is Oct.
'2'2 feature of The Du Pont Show
Oj The Week, as seen on NBC-TV.
Sum., horn 10 to 11 P.M. EDT.

At first the horseless carriage inspired great hate. A farm

journal of the period stated, "These noisy, smoky stinkwagons are designed

to frighten to death anything they can't flatten out."

Few cars could go over forty. And anything over
fifteen was considered death-defying and also
illegal. Even as today, the traffic cop on
wheels was a dread sight to the unwary motorist.

Woodrow Wilson, when he was Princeton prexy, said:
"Nothing has spread Socialistic feeling more than
the use of the automobile." But by the time he'd
become President, he'd succumbed to Pierce-Arrow.

Talcing a curve at high speed in the 1906 Vanderbilt Cup Race. Drivers were rich amateurs.
The road race started at dawn, but drew 25,000 race fans when the first one was run in 1904.

Two all-time sports greats — Barney Oldfield,
at the wheel of a Benz, and his close -friend
Ty Cobb, baseball hero. Oldfield was a gear-
jammer who barnstormed the country's dirt
roads, broke speed records, popularized racing.

Merrily We Roll Along

fast car of today represents one of America's
longest-running love affairs, marred only by
the mounting hazard of giant traffic jams!
But it was a love affair that changed our way
of life . . . and is still doing it. "Merrily We
Roll Along" host Groucho Marx claims, "I
was a Stutz-Bearcat man myself. That ro-
mance has left indelible scars on my arm,
my elbow and my kneecap. Those were just
a few of the spots where the crank hit me.
But that was 1896. There were only about
sixteen cars in the whole United States
then, so they didn't really replace many
horses. But they did come close to replacing
the elephant, the giraffe, and the tattooed
lady. In fact, in order to see one, you had to
go to the circus, where they had a horseless
carriage on display along with all the rest
of the freaks."

In those early days, public reaction to the
auto was often hostile. Horses reared when
confronted with passing cars. "There ought
to be a law," everyone said. And, indeed, one
law read, "A man of mature age and judg-
ment, mounted on horseback and carrying a
red flag, must precede any self-motor
machine . . ."

In one state, the driver of a car which
frightened a team into bolting could be fined
up to a hundred dollars for every runaway
mile! Such laws (Continued on page 63)

By 1912 there were over 1 00 makes of cars to

choose from. "So Electric," said the ads. "No

fuss, no fumes, easier to push than a baby

carriage." But the electric runabout went only

25 miles before batteries needed recharging.

Dedicated racing fans turned up at Indianapolis
Speedway to watch Sudden Death. The first Five
Hundred Race saw one dead, four injured. Racing
became laboratory for testing new ideas for the
auto industry as it moved toward mass production.

A cavalcade of motorists embark on a Sunday Drive. These provided a great excuse for leaving the dishes in the sink.
"Let's go for a spin" meant that the driver wanted to see how many miles he could get on the speedometer.

Commenting on early roads, one farmer said,
"They're so bad that, even in the dry season,
they'd bog down anything that ain't web-footed.
We consider roads real smooth around here if
the tree stumps in 'em are below mud level."

Circa 1925. Sroucho says, "Not only had the
automobile replaced the horse, it went too

far and started to replace the comedian. The

kids painted jokes all over — so, no matter

where the car hit you, it'd strike you funny."

Two -ill liHin -.|j.,rtv greatv — Borney Oldfield,
ot the wheal of o Beni. and hit close friend
Ty Cobb. baseball hero. Oldfield wai a geor
jommer who barnstormed the country! dirt
roadi, broke speed records, populonzed racing.

Ipolil
■i* ftri'

Dedicated rocina, fani turned ui

SpeeJ»o\ ' 0^

l;Unv' •* Rocinq

became laboratory for testing n»* ,d,0, for (h# ^

>ed toward man production

Merrily We Roll Uo*j

fast car of today represents one of America^
longest-running love affairs, marred only by
the mounting hazard of giant traffic jams'
But it was a love affair that changed our w4y
of life . . . and is still doing it "Merrily We
Roll Along" host Groucho Marx claims, "I
was a Stutz-Bearcat man myself. That ro-
mance has left indelible scars on my arm
my elbow and my kneecap. Those were just
a few of the spots where the crank hit me
But that was 1896. There were only about
sixteen cars in the whole United States
then, so they didn't really replace many
horses. But they did come close to replacing
the elephant, the giraffe, and the tattooed
lady. In fact, in order to see one, you had to
go to the circus, where they had a horseless
carriage on display along with all the rest
of the freaks."

In one state, the driver of a car which
frightened a team into bolting could be fined
up to a hundred dollars for every runaway
mile! Such laws (Continued on page 63)

By 1912 there were over 1 00 mokes of cars to

choose from. "So Electric," said the ads. No

fuss, no fumes, easier to push than a baby

carriage." But the electric runabout went only

25 miles before batteries needed recharging.

A cavalcade of motorlstt embark on a Sundo.

"Let's go for a ip.n " meant that Mm - how many

get on the speed.

! '

"ovcho lO,l
owtomobile replo

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Mitch Miller sings the praises of the thirty

by MITCH MILLER

■ When TV Radio Mirror asked me to evaluate
the talent on Sing Along, my first reaction was to
say "no." It's my belief that you shouldn't blow
your own horn. I believe in presenting the
show and letting the public evaluate.

But then the request began to make sense.
After all, no one would ask Ed Sullivan or Perry
Como why they have a Rosemary Clooney or
Tony Bennett on their shows. The Bennetts and
Clooneys are stars. That's why they are there. But
Sing Along is unique in that it has no stars.

We have twenty-five male voices, none of them
nationally known as individuals . . . young female
singers — possibly the equivalent of starlets in
the movie business . . . (Continued on page 57)

Diana Trask is one of Mitch's girl singers . . .

Sing Along With Mitch is colorcast over NBC-TV, Thursday, from 10 to 11 P.M. EDT, under multiple sponsorship.

vocal experts whose magic way with a tune puts his Sing Along show into the top ratings

Louise O'Brien . .

^Si^^B

■■ s

K_ .Api

m -

Jr^SS^ x

Gloria Lambert

I ■

Mitch Miller sings the praises of the thirty

by MITCH MILLER

We have twenty-five male voices, none of them
nationally known as individuals . . . young female
singers — possibly the equivalent of starlets in
the movie business . . . (Continued on page 57)

vocal experts whose magic way with a tune puts his Sing Along show into the top ratings

Louise O'Brien . .

Diana Trask is one of Mitch's girl singers

Sing Along With Mitch is colorcast over NBC-TV. Thursday, from 10 to 11 P.M. EDT, under multiple sponsorship.

Leslie Uggams . . .

Gloria Lambert .

the
CHAMP

who

took
on

the

CHIMPS

Peggy Cass, an optimist
with Paar training, deals
with some scene-stealing
antagonists. What if
they hite? She'll scream!

For months, Peggy resisted ap-
pearing on The Jack Paar Show.
Then guesting became a habit!

Problem: New series takes her

out West. Husband Carl Fisher's

work keeps him in the East.

by MARTIN COHEN

■ A long-legged gal with blue eyes and strawberry
hair, Peggy Cass is about to score a "first." It won't be
as significant as man's first trip to the moon. But,
in its own way, it is an unusual gambit. Peggy's
co-stars in The Hathaways include one man —
Jack Weston — and three chimpanzees.

Jack Weston, a gentlemanly actor, doesn't bite.
But chimps have a notorious reputation for taking an
occasional nip at ham — male or female, star or
understudy, sponsored or unsponsored. Says Peggy,
"Right now, I'm playing it cool. I slip the chimps
a lot of jelly beans and they seem to love me. I hope
I'm not kidding myself about this. I've got a
scream that carries three city blocks, and if they
ever bite me and I scream — those chimps will
never be the same again."

This will be Peggy's first run in a situation comedy
series, although she has become well-known to
TV audiences, over the past (Continued on page 64)

The Hathaways, with Peggy Cass and Jack Weston co-starred in
the title roles, is seen on ABC-TV, Fridays, at 8 P.M. EDT.

The Hathaways: A real "wild Indian" might

be easier to raise than the Marquis

Chimps, say Peggy Cass and Jack Weston.

a Top TV Comedy

Asked to create a series for Phil Silvers,
Hiken came up with the now-immortal Bilko.

The genius who invented Sergeant Bilko —
and is now building laughs
into Car 54, Where Are You? — gives
an insider s view of the writing game

"T shudder when I think of what's becoming of comedy,"
JL says ace comedy writer Nat Hiken. "The joke has dis-
appeared. Humor today — as presented on television —
depends on story situations. And that requires writers.
Where are the comedy writers coming from? That's
the big problem.

"Writing comedy is a craft. Under television's present
setup, there is no place for a young writer to learn his
craft. A handful of comedy writers came up through
radio, but behind them is a void. It scares me when I
think about it."

Hiken is one of the handful.

In 1936, fresh from the campus of the University of
Wisconsin, he began writing a local radio program in
Los Angeles for the magnificent sum of five dollars a week.
In the years that followed, he developed into one of
radio's most successful and highest-paid comedy writers,
putting laughs in the mouths of such varied personali-
ties as Fred Allen, Monty Woolley and Milton Berle,
among others. When television arrived, Nat Hiken was
ready for it. After a series of (Continued on page 73)

Car 54, If here Are You?— co-starring Joe E. Ross and Fred
Gwynne as officers Toody and Muldoon — is seen on NBC-TV,
Sun., 8:30 P.M. EDT, sponsored by Procter & Gamble Co.

Hiken's new comedy is also about uniformed men — squad-car

riter Talks About His Craft

JAMES

TAYLOR

olicemen at work, at play, at home! (Seated at table: Fred Gwynne and Ruth Masters as the Muldoons

a Top TV Comedy ; Writer Talks About His Craft

Asked to create a series for Phil Silvers,
Hiken came up with the now-immortal Bilko.

The genius who invented Sergeant Bilk
and is now building laughs
into Car 54, Where Are You? — gives
an insiders view of the writing game

"f shudder when I think of what's becoming of comedy,"
1 says ace comedy writer Nat Hiken. "The joke has dis-
appeared. Humor today— as presented on television-
depends on story situations. And that requires writers.
Where are the comedy writers coming from? That's
the big problem.

Hiken is one of the handful.

Car 54, Where Are You? — co-starring Joe E. Ross nnd Fred
Gwynne as officers Toody and Mnldoon — is seen on NBC-TV,
Sun., 8:30 P.M. E11T. sponsored by Procter & Gamble Co.

JAMES

TAYLOR

Hiken's new comedy is also about uniformed men squ

d-c"

icemen at work, at play, at home! (Seated at table: Fred Gwynne and Ruth Masters as the Muldoons.)

Boss-man Walt Disney, whose genius has enriched viewers young and old,
runs a shop where workers can also be happy. Let's take a look . . .

■ All good employers know the Golden Rule of Production: Give more and you
will get more. But it took an exceptionally imaginative boss like Walt Disney
to start putting it into practice, back in 1939, when the success of his animated
cartoons — now full-length features, as well as short subjects — burst the seams of his
old studio. Result: A daytime dreamland on fifty-some acres in Burbank, not
far from Hollywood. . . . The present complex of specially-designed buildings, set in.
a park -like atmosphere, has led more than one first-sighter to exclaim, "Why,
it's like a country club!" Comparative newcomer William Thomas — who designed the
clothes for such Disney films as "Babes in Toyland" and "Moon Pilot" — adds:
"Another wonderful feature is the relationship between Mr. Disney and the personnel.
There's none of that front-office protocol, where you never seem to get an answer.
Any problem, any brainstorm, is given a quick decision by Walt himself." Perhaps
animation supervisor Frank Thomas — no relation, but a Disneyite for twenty-six years —
gives the key to it all: "The Disney operation is a hobby, not a business, to Walt.
He enjoys every minute of it and that enthusiasm rubs off on the rest of us." . . .
The Animation Building is so designed that every office is an outside room, carpeted
and draped. Like all the others, it has a special, completely draftless air-conditioning
which never goes below 74 degrees or above 78, in San Fernando Valley's hottest
summer. However, some buildings — such as Inking and Animation — have linoleum
on floors, Venetian blinds at windows, to insure a lint-free interior. The Camera Building
is not only tightly sealed but has a "chamber" where twenty air-nozzles gently blast the
outdoor dust and lint from everyone who enters. Employees of other departments
are frequent visitors, for reasons of their own. "If I've got a date," says one, "I just go
over there after work and, in two minutes, my suit looks like it just came from
the cleaners!" . . . There are many features specifically designed for employee comfort:

New TV hour is Walt Disney's Wonderful World Of Color. Above,

"the boss" discusses backgrounds with John Hench (left)

and Claude Coats. Animation Building is seen on opposite page.

Penthouse Club offers games and other
facilities for a small membership fee— and men only.

Annette Funicello tries a pet

pastime of employees in "De-dusting

Chamber" of Camera Building!

Continued

wm©

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mmmmm \?m m

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mMMmm

New TV hour is Walt Dimty's Wondirful World Of Color Abe
the boss discusses backgrounds with John Hsnch (left)
and Claude Coats. Animation Building is seen on opposite page.

Boss-man Walt Disney, whose genius has enriched vieivers young and old,
runs a shop where workers can also be happy. Let's take a look . . .

■ All good employers know the Golden Rule of Production: Give more and you
will get more. But it took an exceptionally imaginative boss like Walt Disney
to start putting it into practice, back in 1939, when the success of his animated
cartoons— now full-length features, as well as short subjects— burst the seams of his
old studio. Result: A daytime dreamland on fifty-some acres in Burbank, not
far from Hollywood. ... The present complex of specially-designed buildings set in
a park -like atmosphere, has led more than one first-sighter to exclaim "Why
its like a country club!" Comparative newcomer William Thomas-who designed the
clothes for such Disney films as "Babes in Toyland" and "Moon Pilot"— adds-
"Another wonderful feature is the relationship between Mr. Disney and the personnel
There s none of that front-office protocol, where you never seem to get an answer
Any problem, any brainstorm, is given a quick decision by Walt himself " Perhans
animation supervisor Frank Thomas-no relation, but a Disneyite for twenty-six vears-
gives the key to it all: "The Disney operation is a hobby, not a business, to WaTt
He enjoys every minute of it and that enthusiasm rubs off on the rest of us" '
The An.mat.on Budding is so designed that every office is an outside room' carneted
and draped. Like all the others, it has a special, completely draftless alr-conditiS
wh.ch never goes below 74 degrees or above 78, in San Fernando ValW's hottest
summer. However some bui dings-^ueh as Inking and AnimaUon-have unoleum
on floors venehan blinds at w.ndows, to insure a lint-free interior. The CarLa Sh™
is not only tightly sealed but has a "chamber" where twenty air-no^Tlf. m * 1
outdoor dust and lint from everyone who enters. fap^S Ste dtparfmenl *

are frequent visitors, for reasons of their own. "If I've got a date •• «£^T % ■
over there after work and, in two minutes, my suit looks like it S caTe from ^ g°
the cleaners-" . . . There are many features specifically designed foi Tmp[oTee comfort:

Penthouse Club offers games and other
facilities for a small membership fee— and men only.

Annette Funicello tries a pet

pastime of employees in "De-dusting

Chamber" of Camera Building!

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Librarian Corlay Gannon looks up answers
to queries like "Why do humminq birds hum?'

Annette plays table tennis with Norman Corey of Music Dept.
Others may go riding, on studio bikes, at lunch time.

In the Penthouse Club, male members have
not only a gymnasium and dining area,
but a full-time barber. (Walt still recalls those
lean days when he traded drawings for
haircuts!) For all employees, there are
games, bicycles, shower rooms — and a separate
building where a large dining room can seat
400, cafeteria-style, and a smaller room
offers table service for a leisurely meal or quiet
conference. . . . Some prefer to bring their
own lunches, eat picnic-style on the lovely
grounds, visit the library to see the latest
art exhibit — displayed by fellow workers and
sold without commission — or to borrow a
book from head librarian Koneta Roxby and
her staff. Here are hundreds of periodicals
from all over the world, plus hundreds of
new reference works purchased each year. Walt
hasn't forgotten his boyhood in Kansas
City and the two books on animation he
found at the library there: "They were an
immense help to me in launching my career."
Nothing could make him happier than for
others to find fulfillment of their own dreams
at his modern dreamland for daytime toilers!

Walt Disney's Wonderful World Of Color is seen over
NBC-TV, Sun., from 7:30 to 8:30 P.M. EDT, sponsored
by Eastman Kodak and the Radio Corporation of America.

Frank Thomas, animation supervisor — with new
TV cartoon star, Prof. Ludwig Von Drake.

ivmtum

Cards get their play in Penthouse Club atop Animation Building — which also
has sun deck, steam and massage room, in addition to full gymnasium.

From display of Disney toys, Annette picks out the
beloved character with whom it all began — Mickey Mouse!

Commissary operates at loss, to provide

top food [yummy, says Annette!) at low prices.

HIDE MOBV STOOD©

Librarian Carlay Gannon looks up answers
to queries like "Why do humming birds hum?'

Frank Thomas, animation supervisor — with new
TV cartoon star, Prof. Ludwiq Von Drake.

Annette plays table tennis with Norman Corey of Music Dept.
Others may go riding, on studio bikes, at lunch time.

In the Penthouse Club, male members have
not only a gymnasium and dining area,
but a full-time barber. (Walt still recalls those
lean days when he traded drawings for
haircuts!) For all employees, there are
games, bicycles, shower rooms — and a separate
building where a large dining room can seat
400, cafeteria-style, and a smaller room
offers table service for a leisurely meal or quiet
conference. . . . Some prefer to bring their
own lunches, eat picnic-style on the lovely
grounds, visit the library to see the latest
art exhibit— displayed by fellow workers and
sold without commission — or to borrow a
book from head librarian Koneta Roxby and
her staff. Here are hundreds of periodicals
from all over the world, plus hundreds of
new reference works purchased each year. Walt
hasn't forgotten his boyhood in Kansas
City and the two books on animation he
found at the library there: "They were an
immense help to me in launching my career."
Nothing could make him happier than for
others to find fulfillment of their own dreams
at his modern dreamland for daytime toilers!

NBC Tv'T'* W,0ndeil£ World °> C»l°< * seen over

"',„' VfrP?* ™° "> 8:3° PM. EDT, sponsored

U) Eastman Kodak and the Radio Corporation of America.

Cards get their play in Penthouse Club atop Animation Building— which alio
has sun deck, steam and massage room, in addition to full gymnasium.

From display of Disney toys. Annette picks out the
beloved character with whom it all began — Mickey Mousel

Commissary operates at loss, to provide

top food [yummy, soys Annette!) ot low prices.

KATHYNOLAN

■ I can never forget Kathy's radiant
smile as she made her acting debut.
TV's present-day "Kate," of The
Real McCoys, was carried onto the
stage of the last showboat on the
Mississippi, by her mother, when she
was only thirteen months old. She
touched her toes to the floor fast, and
ran about gaily in the role of a
spunky year-old boy.

Her mother and I had met in a
church dramatic group, after gradu-
ating from high school in different
sections of Missouri. We started to
act professionally as a pair in the
little stock companies around St.
Louis. Six months after Kathy was
born there, we signed for the ro-
mantic leads in the plays aboard
The Goldenrod. With it as our home,
Kathy's earliest memories are of a
unique childhood which she recalls
with delight. Every day, the boat
was a (Continued on page 68)

Father acts, too! Ellsworth

does both TV and movies while Kathy

plays Kate in The Real McCoys.

by STEPHEN ELLSWORTH

as told to Tex Maddox

She's always "doing for others." Here

it's hot coffee for her actor-and-author father

Dad's fondest hope now is that Kathy will have
a real-life marriage as happy as her TV
one with Luke McCoy (played by Richard Crenna

Playbills tell this family's history,
from earliest days on a Mississippi showboat.

The Real McCoys is seen over ABC-TV, Thurs., 8:30
P.M. EDT, sponsored by The Procter & Gamble Co.

KATHY NOI^,

by STEPHEN ELLSWORTH

as told to Tex Maddox

She's always "doing for others." Here

it's hot coffee for her actor-and-author father.

Dad's fondest hope now is that Kathy will have

a real-life marriage as happy as her TV

one with Luke McCoy (played by Richard Crenna).

Father acts, too! Ellsworth

does both TV and movies while Kathy

plays Kate in 77i<> Real McCoys.

Playbills tell this family's history,
from earliest days on a Mississippi showboat.

The Real McCoyi in Men over ABGTV, Tlmr... H:.W
P.M. F.DT, »pon«>n-d l>y The Proclcr & Gamble Co.

Two in title roles: Leon Ames_ as
Father, Myrno Fahey as The Bride.

The Father Of The Bride may
worry about Myrna Fahey,
ultra-feminine lead in the new
series. But Myrna s headed
for her first million —
and not by marrying for money

THE BEAUTY

ON A
TICKER-TAPE

TANGENT

Handsome Burt Metcalfe is Myrna's

TV husband — but, off screen, her eyes and

heart turn eagerly to Wall Street!

by MAURIIVE II 1MB Mil

■ Ask practically any young Hollywood actress what
the initials "D.J." stand for, and you'll get a fast "disc
jockey, of course!" But not from lithe and luscious
Myrna Fahey. She knows perfectly well that "D.J."
means "Dow Jones" — as in "stock market." And
she'll go on to quote those stock-market averages for
anyone who shows any interest whatsoever. This
talent of Myrna's for reading — and understanding —
the ticker-taped reports from Wall Street may be
hard to believe for those who (Continued on page 69)

Father Of The Bride is seen on CBS-TV, Fri., 9:30 P.M. EDT,
as sponsored by General Mills and the Campbell SoUp Company.

frtlW»1«IIWII>MM M HI flM

On 77 Sunset Strip, Koolcie has laid away his
comb for a career as a detective. Parking the
cars at Dino's this season? A new fellow
who's nutty about initials.

For example:

R.
L.

m£OM

ROGER

BECK

77 Sunset Strip: Efrem Zimbaiist Jr. (center)

may find Bob Logan even harder to translate than Edd Byrnes —

but the new carhop's sweaters speak tor themselves!

M^ R^^ L

■ Televiewers who vicariously visit Dino's Lodge with the cast of 77 Sunset
Strip this season will immediately notice one major difference, the first time
they pull up to the side entrance of the famed Hollywood bistro. No longer
will they be greeted by a hip-talking, comb-wielding, handsome young
parking-lot attendant. Now they will be met by a handsome young man who
will not only park the car, but probably confuse them thoroughly with a
radically new manner of speaking. The new auto jockey is a muscular athlete
named Robert Logan. His gimmick? He talks in initials!

To be known simply as "J.R.," the young actor will be recognizable both
by his penchant for abbreviating words into key letters and for the vast
collection of sweaters which will be his costume trademark.

Fans of the tremendously popular detective series will be hearing sleuths
Stuart Bailey and Jeff Spencer referred to simply as "Mr. B." and "Mr. S."
by their new assistant — whose philosophy maintains that "life is too short
to waste time with a lot of words." Of course, Bob's conversation will not
consist of initials only. He will abbreviate just the better known and more
frequently used expressions — such as "G.R.I." for "go right in," and "G.E."
for "good evening." The producers naturally hope this will start a fad among

4'antinued

Lb •

P. O.'s right at his doorstep in Malibu — Pacific Ocean, that is.
Indoors, Bob strums the initial notes of a ditty.

Collie pal rounds up our bachelor —

who denies being either a lost sheep or one

in wolf's clothing, proves it as he

"dresses up" for a bout with the surfboard.

young people who are quick to pick up on
something new and catchy. But, whether or
not the fans latch onto this new initial-ese,
they should take quite readily to the ruggedly
handsome twenty-year-old who will be spout-
ing the abbreviated jargon.

Warner Bros., a studio well known for its
willingness to gamble on unknowns, seems
especially excited about the future of their
newest newcomer. Proof of their confidence
lies in the fact that they handed him this
choice plum of a role on the top-rated show
despite the fact that, until a few months
earlier, he had never seen the inside of a
motion picture studio — and the only acting
experience he acquired, between signing a
contract and shooting his first episode for 77,

was a small role in the film, "Claudelle
Inglish," and another in a segment of TV's
The Roaring 20's.

The rest of the 77 cast— Efrem Zimbalist Jr.,
Roger Smith, Edd Byrnes (promoted this
season from the parking lot to a private-eye
partnership), Louis Quinn and Jacqueline
Beer— share the studio's enthusiasm and have
labeled the young novice a modern day "Cin-
derfella." For it is (Continued on page 72)

11 Sunset Strip is seen on ABC-TV, Friday, from 9 to 10 P.M. EDT, under multiple sponsorship.

New role means not only a home

of his own, but scripts to study for 77 .

He'd rather play ball with Miss
Shelly Merrick, surf expert at Malibu.

ys*rm*f

m -

M.
R.

mm •

P. 0.'« right at his doorstep in Malibu— Pacific Ocean, that is.
Indoors, Bob strums the initial notes of a ditty.

■sBiE' n

■ < *• 1

her

^^^^

Collie pal rounds up our bachelor —

//ho denies being either a lost sheep or one

in wolf's clothing, proves it as he

'dresses up" for a bout with the surfboard.

Warner Bros., a studio well known for its
willingness to gamble on unknowns, seems
especially excited about the future of their
newest newcomer. Proof of their confidence
lies in the fact that they handed him this
choice plum of a role on the top-rated show
despite the fact that, until B few months
earlier, he had never seen the inside of a
motion picture studio — and the only acting
experience he acquired, between signing a
contract and shooting his first episode for 77,

was a small role in the film, "Claudelle
Inglish," and another in a segment of TV's
The Ronring 20's.

The rest of the 77 cast— Ef rem Zimbalist Jr.,
Roger Smith, Edd Byrnes (promoted this
season from the parking lot to a private-eye
partnership), Louis Quinn and Jacqueline
Beer — share the studio's enthusiasm and have
labeled the young novice a modern day "Cin-
derfella." For it is (Continued on page 72)

. Sunstl Strip is seen on ABC-TV, Friday, from 9 .,, 10 P.M. EDT, under multiple sponsorship

::;

New role means no) on

.1 his own. i

He'd roth.

ball with Mm

Dick Van Dyke is Mary's "husband" on TV only.

Sexv "Sam" — TV detective Richard
Diamonds unseen secretary — comes into
full view on The Dick Van Dyke Show

by BILL KELSAY

San Fernando Valley son Ritchie is "for real

So is the remodeling, as plasterer helps!

■ Remember "Sam"? Sam on the Rich-
ard Diamond series, Sam of the shapely
knees and the sexy voice? Well, Sam is
now a thoroughly domesticated wife and
mother on the new Dick Van Dyke Show.
No more low- angle trick shots to show off
only portions of her anatomy (and never
her face). No more low-pitched, sultry,
pear-shaped tones. Instead, "Sam" has be-
come "Laura," a comely young housewife
with a harried husband and a slightly
precocious six-year-old son. . . . Which is
not too different a situation from the real-
life role of Mary Tyler Moore, who was
"Sam" and is "Laura." She is married to
Richard Meeker, a sales representative for
CBS, and their (Continued on page 60)

The Dick Van Dyke Show is seen on CBS-TV, Tues.,
B P.M. EDT, as sponsored by Procter & Gamble Co.

STEVE ALLEN'S
Return to the

Battle of the Big Eye

Previous TV triumphs are attested by many awards in attic

office-den of the new California home Steve shares

with lovely wife Jayne Meadows (below, and on facing page).

by KATHLEEN POST

■ When is a comedian not a comedian?
. . . When he's also a composer, artist, poet,
and "stormy petrel" of politics. When he
can spout gags, pound a hot piano, and
direct the shenanigans of a top TV variety
show . . . and, all the while, gaze thought-
fully on a troubled world through horn-
rimmed spectacles. . . .

In short, when he's Steve Allen.

To his many fans, Steve is a symbol of
superb showmanship, enthusiasm and high
ideals. Naturally, there was great rejoic-
ing when it got around that he was coming
out of retirement to plunge again into the
embattled arena of sponsors, "prime time"
and ratings. It is a tribute to Steve that
nobody — in television or out — had any
doubt that his new ABC -TV production
would live up to the old show's quality in
fun, taste, clever chatter and exciting
music.

"It's funny," Steve muses. "Once I an-
nounced my comeback, the first question
the fans asked was: 'Will you bring back
those three funny fellows?' What's funny
is not that they want the old team back,
but that they think of them as only three
comics. Actually, there were seven — Don
Knotts, Tom Poston, Louis Nye, Dayton
Allen, Bill ('Jose Jimenez') Dana, Pat
Harrington Jr. and Gabe Dell — but we re-
volved their acts, usually three at each
show, so the public began to think of them
as only three."

It might be pointed out here that this
mistake has not blurred the individual
image or career of any of these perform-
ers. Don Knotts grabbed off a permanent
berth on The Andy Griffith Show. (Andy
himself first won popular acclaim on TV
by his appearance on the Allen show that
also "discovered" another giant talent,
Elvis Presley.) Louis Nye, Bill Dana and

Bedtime story for Billy, youngest
occupant of the Aliens' home in California.

Jayne and Steve read all the news,
really care what's happening in the world.

Tom Poston have been seen regularly on
panel and variety shows, and Pat Harring-
ton Jr. has been featured the past season
on The Danny Thomas Show. In fact, they
have all been in demand since the demise
of the earlier Allen company.

"While my big hope now, as in the past,
is to put the spotlight on new talent, I
mean to make every effort to get my old
team back. I suppose some will only be
available for guest shots, but I'll even try
to borrow Don Knotts from a rival net-
work, if at all possible," Steve carefully
explains during a discussion of his blue-
prints for the new show. At the moment of

STEVE ALLEN'S

Return to the

Battle of the Big Eye

But home and family are the greatest part

of their life. Time for these was the best dividend

Steve drew from the months he was off TV.

■

speaking, he has already signed Bill Dana,
Stan Burns — a writer long associated with
Allen — and Leonard Stern, who has
served for the past four years as his head
comedy writer and stager of skits. Les
Brown and his "Band of Renown" provide
the musical background, a job they did
for Allen in 1959 and 1960. Charles An-
drews, who produced shows for Arthur
Godfrey, does the same for Allen. And
Dave Brown, who directed the Milton
Berle series, serves Allen in a similar
capacity. Of course, Steve himself — al-
though he has always made a point of
hiring "blue chip (Continued on page 76)

The Steve Allen Show is seen on ABC-TV, Wed., from 7:30 to 8:30 P.M. EDT, under multiple sponsorship.

Bedtime story for Billy, youngest
occupont of the Aliens' home in Coliformo.

Joyne and Steve read oil the news,
really care what's happening in the world.

Tom l'osion li.iv.- been seen regularly on
Sid VB1 "iv shows, and Pat Harring-
ton Ji litis been featured the past season
on The Danny Thomas Show. In [act, they
have nil been in demand since the demise
of tin- oinlloi Allen company.

"While my lnvi hope now, as In the past,
is to put the ipotllght 01) new talent. I
menu to make every effort to get my old

team back i luppoaa some will only ba
availabla for guaal shots, but I'll even try
to hoiiow Don Knotti tram .1 rival net-
work, if nt all possible." Steve carefully

axplalna during :i dlacuaaton ol his blue-
prints fol the new show At the moment of

STEVE ALLEN'S
Return to the

Battle of the Big Eye

But home and family are the greatest part

of their life. Time for these was the best dividend

Steve drew from the months he was off TV.

speaking, he has already signed Bill Dana,
Stan Burns — a writer long associated with
Allen — and Leonard Stern, who has
served for the past four years as his head
comedy writer and stager of skits. Les
Brown and his "Band of Renown" provide
the musical background, a job they did
for Allen in 1959 and 1960. Charles An-
drews, who produced shows for Arthur
Godfrey, does the same for Allen. And
Dave Brown, who directed the Milton
Beile series, serves Allen in a similar
capacity. Of course, Steve himself— al-
though he has always made a point of
hiring "blue chip (Continued on page 76)

I'A, Skw MU„ S* ,„ „„ ut. r\ \\ to8:30 P.M. EDT. under muhipl, Spon»r«hip.

Juven He
Delinquency vs.

Dr. Joyce Brothers,
speaking as both
psychologist and mother,
sounds off on a topic
vital to all parents

■ How much does TV affect the behavior of teenagers? What is its influence
on younger children? Is it contributing to juvenile delinquency? Most important
of all, how can a mother utilize TV viewing as a positive and constructive
force in the lives of her children? . . . These are some of the questions we recently
asked psychologist Dr. Joyce Brothers. You may remember Dr. Brothers as
the pretty, fragile-looking blonde who first won TV fame on two national quiz
programs, shortly after obtaining her Ph. D. in psychology from Columbia
University. Her preoccupation with psychology began, five years before she
married, when she entered Cornell University in 1944 . . . and it continued
after graduation, when she taught at Hunter College and, later, at Columbia.
Six years of teaching psychology at the college level, and a trained understanding
of why we humans act as we do, made her the {Continued on page 78)

Dr. Joyce Brothers is seen and heard in the New York area, on Station WNBC-TV, Monday through
Friday, from 1 to 1 :25 P.M. EDT. See local newspapers for listing of her programs in your area.

Roger Tut+le reads a query — one of many varied problems

in the daily mail — for Dr. Brothers' wise answers on WNBC-TV.

FRANCES
KISH

Juvenile
Delinquency vs.

Dr. Joyce Brothers,
speaking as both
psychologist and mother,
sounds off on a topic
vital to all parents

(

Roger Tattle reads a query— one of many varied problems

m the daily mail— for Dr. Brothers' wise answers on WNBC-TV.

■ How much does TV affect the behavior of teenagers' What is it, i„fl
on younger children? Is it contributing to juvenile delinnu/nU" m lnfluence
of all, how can a mother utilize TV viewing as a «„l£™ ??* ^ lmPortant
force in the lives of her children? . . . T^se Ire some of thP ?nstructive
asked psychologist Dr. Joyce Brother, To m y rememberT ™™ "^
the pretty, fragile-looking blonde who first won TV fTrn . Blothers as

programs, shortly after obtaining her Ph D in n,vl„l Z f°" ~° national Quiz
University. Her preoccupation with psvchologv began <W m ^T***
married, when she entered Cornell UniversiW in ll44 W Vf ." before she
after graduation, when she taught at Hunter r,>ii0„ ' ' J , !t cont>nued
Six years of teaching psychology at the coUege Wei a^d I ' ^ /' C°lumbia-
of why we humans act as we do, made her the rrv ♦ . ned understandin

me (Continued on page 78)

standing

Dr. Joyce Brothers is seen and heard in the New v».l '

Friday, from 1 to 1:25 P.M. EDT. See ^Z'^l:^"™*™. Monday through

'">*. 01 her programs in your area.

FRANCES

KISH

Starch for the ears of Fletcher Rabbit!

Kukla and Oliver ("One Too+h") Dragon.

I ^k

)

) #^lKluim»;<i: u 11 tt ilf«iitiit*itn fir it< t

. .. ni

illiUknk

The ladies: Buelah Witch, Mme. Ooglepuss.

Stagehand Cecil Bill gets right into the act.

THE
KUKLAPOLITANS

RETURN

With Burr Tillstrom at the helm, a new generation of children
meet Kukla, Oliver Dragon, Mme. Ooglepuss and all that crowd

by HELEN BOLSTAD

■ For the enjoyment of a whole new generation of children, and to the joy of their moth-
ers, Burr Tillstrom's Kukla and Ollie have returned to NBC -TV! . . . How parents
feel about this was expressed by one young mother who has the usual objections
to the violent shows her children have viewed: "It's wonderful to have something
kind and good to amuse them." She did not even remember that the program had won
virtually every award as the best TV for children. She did recall sharply what it had
meant to her: "I want my children to know Kuke and Ollie as I did. I never thought
of them as puppets. They were as real to me as my other playmates. I'm glad they're
back." ... As for Burr Tillstrom — creator and voice of the whole troupe of lively
little cottonheads — he says, "It's good to be back. Since our daily show ended in 1957,
we've had lots of fun as guests on other people's programs, but occasional appearances
are not enough. Kukla and Ollie must live every day, to be at (Continued on page 70)

Burr Tillstrom's Kukla And Ollie is seen on NBG-TV, 5 P.M. EDT, as sponsored by Miles Laboratories, Inc.
Burr Tillstrom is best friend any "doll" or "dragon" ever had.

The ladies: Buelah Witch, Mme. Ooglepuss.

Stagehand Cecil Bill gets right into the act.

THE
KUKLAPOLITANS

RETURN

With Burr Tillstrom at the helm, a new generation of children
meet Kukla, Oliver Dragon, Mme. Ooglepuss and all thai crowd

by HELEN BOLSTAD

■ For the enjoyment of a whole new generation of children, and to the joy of their moth-
ers, Burr Tillstrom's Kukla and Ollie have returned to NBC-TV! . . . How parents
feel about this was expressed by one young mother who has the usual objections
to the violent shows her children have viewed: "It's wonderful to have something
kind and good to amuse them." She did not even remember that the program had won
virtually every award as the best TV for children. She did recall sharply what it had
meant to her: "I want my children to know Kuke and Ollie as I did. I never thought
of them as puppets. They were as real to me as my other playmates. I'm glad they're
back." ... As for Burr Tillstrom — creator and voice of the whole troupe of lively
little cottonheads — he says, "It's good to be back. Since our dally show ended in 1957,
we've had lots of fun as guests on other people's programs, but occasional appearances
are not enough. Kukla and Ollie must live every day, to be at (Continued on page 70)

Burr TilUtrom's Kukla And Ollie is seen on NBC-TV, S P.M. EI)T, H aporuwred by Mile. LabonJarll
Burr Tillstrom is best friend any "doll" or "dragon" ever had.

■•{9

MINUTES

■

X M

Inm

John Chancellor, new host of Today, awakens millions of
sleepy people with his distinctive brand of news and entertainment

by HERBERT KAMM

■ At the end of his first week as permanent
host of Today, John Chancellor collapsed into
a chair in his NBC-TV office, wearily removed
his glasses, pinched the bridge of his nose
and uttered a one-word judgment about
his new experience: "Wow!" It was a fitting
testimonial to the stimulating experience
of being vulcanized as a celebrity.

In the weeks that have passed since he
slipped into the giant-sized brogans of the
departed Dave Garroway, Chancellor has
progressed from one-word reactions to
mellifluous sentences about his exciting chore
as a TV figure. But it still will be some time
before he fully adjusts himself to the aura of
glamour which envelops one when he be-
comes a daily fixture on the home screen —
and, in addition, the man who helps millions
of people get out of bed in the morning.

In short, John Chancellor, at 34, has be-
come immersed in a new way of life —
"show business." And he has learned that,
as the old chestnut says, there's no business
like it.

After eleven years as a dedicated television
and radio newsman — hectic years in which he
chased stories on land, on sea, in the air,
at home and abroad — Chancellor took over
the Today assignment on July 17 determined
that the program, rather than the personality,
would make the stronger impact on viewers.

Under his stewardship, Today has indeed
become more of an information vehicle,
less an entertainment attraction, than it was
during the nine-years-plus the suave
Garroway presided over it. Except for scat-
tered taped segments, it is all "live." News
stories, stories behind the news, stories that
will make news, dominate. In fact, the
program itself no longer is an independent
entity but, for the first time, is under the
control of the NBC News department.

But none of this has succeeded in
suppressing the affection of TV audiences
for people — rather than places or things — and
John Chancellor, somewhat awed by it all,
is the new darling of early-morning
viewers in spite of himself.

"I will never consider myself anything
other than a newsman," (Continued on page 75)

John Chancellor is host of The Today Show, as seen on
NBC-TV, Monday through Friday, from 7 to 9 A.M.
EDT. See local newspapers for exact listing in your area.

Today: Ably abetted by Frank Blair (at left) and Edwin
Newman (right), John Chancellor puts the morning accent
on news — and the kind of TV features that make news.

John and his family are glad to "make port" in New York.
Aboard the Queen Mary last summer: Wife Barbara, little
Laura (born in Vienna), baby Barnaby (born in London).

Mr. Ed:

THE HORSE HUMAN

If a horse answers, don't hang up! Mr. Ed indignantly "nays" the idea
that he doesn't need a phone in our un-stable world. How else
could he keep track of his racier friends? Or a likely little filly?

A picture report on the equine

■ At last, a real horse opera: The
seven-year-old Palomino who plays
Mr. Ed may not be much of a singer
but he certainly talks a mouthful! A
lot of horse sense led to his runaway
success on TV, yet loquacious Ed
would be first to share credit with
such bipeds as director Arthur Lubin
— who put talking-mule "Francis"
through his movie paces — and trainer
Les Hilton, who taught Ed the method-
acting which goes with human speech.
And he's happy to be teamed with
Alan Young, starring as the series'
all-too-human hero, Wilbur Post.
Alan himself — who won his TV spurs
early and has two "Emmys" to prove
he could get more than horse-laughs,
even then — is proud to be the only
person to whom Ed ever condescends
to speak! (Where does the voice come
from? "Straight from the horse's
mouth," says Alan — straight-faced.)

Westerns, no! Mr. Ed tells Wilbur "the
white horse's burden" is too sad to
contemplate, with TV heroes so tall in
the saddle. "I was really tuning in
for the Philharmonic. Hope they don't
play 'The Ride of the Valkyries.' "

Pure art, yes. Our pace-setter knows

his oats in the field of painting.

Wilbur's taste in models is strictly

corn — Lady Sodiva, and all that.

comedian who puts his hoof in it every time.

Chess is a cinch. Not that Ed's horseshoes bring
him luck — his opponent plays like a pedestrian. Yet
Ed says, "Wilbur, I enjoy these hours we spend
together. I don't know what I'd do without you really!

Wilbur locked the barn door too late to keep Ed

from ordering extra conveniences. Well, anyway,

wasn't it a horse who invented the "stall shower"?

Mr. Ed is seen on CBS-TV, Sunday, 6:30 P.M. EDT, sponsored
by Studebaker-Packard Corporation and Dow Chemical Co.

Mr. Ed:

THE HORSE HUMAN

!L°thh0^6 QnTrS' ^on'fLhQna uPl Mr. Ed indignantly "
ctwh-tel^? fife h * u->ble loriA.

could he k..p track of fi,^i;rf^n5ra7ft

nays" the idea
low else
little filly?

Wetternt, no! Mr. Ed tells Wilbur "the
white horse's burden" is too sad to
contemplate, with TV heroes so tall in
the saddle. "I was really tuning in
tor the Philharmonic. Hope they don't
play The Ride of the Valkyries ' "

Pure art, yes. Our pacesetter knows

his oats in the field of painting.

Wilbur's taste in models is strictly

corn— Lady Godiva, and all that.

A picture report on the

eqmm

■ At last, a real horse opera: The
seven-year-old Palomino who plays
Mr. Ed may not be much of a singer
but he certainly talks a mouthful! A
lot of horse sense led to his runaway
success on TV, yet loquacious Ed
would be first to share credit with
such bipeds as director Arthur Lubin
—who put talking-mule "Francis"
through his movie paces — and trainer
Les Hilton, who taught Ed the method-
acting which goes with human speech.
And he's happy to be teamed with
Alan Young, starring as the series
all-too-human hero, Wilbur Post-
Alan himself— who won his TV spurs
early and has two "Emmys" to prove
he could get more than horse-laughs,
even then— is proud to be the only
person to whom Ed ever condescends
to speak! (Where does the voice come
from? "Straight from the horses
mouth," says Alan— straight-faced'

comedian who puts his hoof in it every time!

Chest is a cinch. Not that Ed's horseshoes bring
him luck — his opponent plays like a pedestrian. Yet
Ed says, "Wilbur, I enjoy these hours we spend
together. I don't know what I'd do without you really!'

Wilbur locked the barn door too late to keep Ed

from ordering extra conveniences. Well, anyway,

wasn't if a horse who invented the "stall shower"?

Mr. Ed i» wrn on CBS-TV, Sands*, I K P U Kill. ipor

by Stua>h«lc<T-P«ck»rd Corpomion «nd Dow Chemical Co,

-,-/. -<r

VOC/f?

MARK

Get set and go— with Sonny Fox, whose Saturday -morning program
introduces the young viewers to a career world beyond imagination

by HELEN CAMBRIA

■ If a child piggy-banked a nickel each time he answered that
old question, "What are you going to be when you grow up?" — he
might accumulate a tidy endowment to finance his future! If he
answers that question for Sonny Fox on TV's new On Your Mark,
he receives an even more valuable assist in his career — an actual
preview of life in the field which, at the moment, catches his fancy.

Both the prize and the means of winning it are Sonny's own
idea. A children's-show specialist since 1954, tall, rangy Sonny has
strong opinions about programs for young people. The current
offerings, he says, reflect the effect of the highly critical speech
made by the new chairman of the Federal Communications
Commission last spring. Sonny classifies these as "A.M. or P.M.
shows — Ante-Minow or Post-Minow." He calls On Your Mark a
combination of both.

"It's a fun show, but it has a serious purpose, too." Sonny seeks
to educate as he entertains the nine-to-twelve age group. "We
select four youngsters of similar age and ambition. Take children
who want to become airplane navigators: We analyze what abilities
they need. The keys to a navigator's talents are concentration
and coordination. We then devise a contest to test these traits."

Much sound, fury and fun result from these tests, but there is
serious research behind them. "We try to pattern our games after
actual testing techniques in a particular field. In the real Air
Force test for navigators, a man must solve a plotting problem
despite simulated storms, shellfire or mechanical crises." Sonny
translated this into a series of juvenile distractions. "Contestants
get a complicated arithmetic problem which requires clear thinking.
Then someone offers them ice-cream cones. A clown goes into his
act. A popular song blasts loud. Maybe someone dances. It's fun
for the audience. But, while they laugh, our contestants work.
If a kid can solve his problem quickly (Continued on page 55)

On Your Mark is seen Sat., 11 A.M. EDT, over ABC-TV— in New York, over Station
WNEW-TV — as sponsored by Emenee Industries Inc., division of Audion Emenee Corp.

Sonny Fox is a past master at explaining
the world's "Wonderama" to children.

».>'

■

*jv?

► -

^S^

o/v

YOUR
MARK

Get set and go— with Sonny Fox, whose Saturday-morning program
introduces the young viewers to a career world beyond imagination

by HELEN CAMBRIA

Both the prize and the means of winning it are Sonny's own
idea. A children's-show specialist since 1954, tall, rangy Sonny has
strong opinions about programs for young people. The current
offerings, he says, reflect the effect of the highly critical speech
made by the new chairman of the Federal Communications
Commission last spring. Sonny classifies these as "A.M. or P.M.
shows— Ante-Minow or Post-Minow." He calls On Your Mark a
combination of both.

Much sound, fury and fun result from these tests, but there is
serious research behind them. "We try to pattern our games after
actual testing techniques in a particular field. In the real Air
Force test for navigators, a man must solve a plotting problem
despite simulated storms, shellfire or mechanical crises." Sonny
translated this into a series of juvenile distractions. "Contestants
get a complicated arithmetic problem which requires clear thinking.
Jot A Z? T ufm lcf-c^eam cones- A clown goes into his

f\,A P0p,ular S0"S bl\sts lo«d. Maybe someone dances. It's fun
or the audience. But, while they laugh, our contestants work
If a kid can solve his problem quickly (Continued on page 55)

On Your Mark is seen Sat., 11 A.M EDT „,» abptv ■ m i/ , „ .

WNF.W/rV-as sponsored bv Erne, ee Industries W I r'" ^7 Jmki,me' S«t,on
; mcnce industries Inc., division of Audion Emenee Corp.

Sonny Fox is a past master at explaining
the world's "Wonderama" to children.

Fred MacMurray s

SECOND "SON"

Kidding sisters Marilou, 13, and Lani, 7, couldn't
help Don overcome an early shyness with girls.
But his mother, Mary Srady, has given him expert
guidance — and "lets me make my own decisions, too!'

Don Grady, the No. 2 boy
of My Three Sons, explains
some of the tribulations of
being a successful actor
instead of "just a plain boy'

Just doodlin' away — but he's published a tune.

by NANCY ANDERSON

■ Fred MacMurray took Don Grady's chin in
his hand and judiciously tilted his head. "This
won't take a minute," said the star of My
Three Sons, as he began cutting the hair of
the young actor who plays Robbie, "second"
in his all-boy trio on TV. But the scene wasn't
for the show. It was a backstage episode
illustrating the warm off -camera relationship
that exists between MacMurray and his TV
"family." Don — who has just recently turned
seventeen — hadn't had time to get his hair
trimmed before shooting started, and the pro-
ducer was frantically searching for the studio
barber. "Don't worry," (Continued on page 66)

My Three Sons: MacMurray's amazed at changes wrought (temporarily) by Joan Tewksbury

in his usually "womanless" household. Around table, from left — Tim Considine

as eldest son Mike, William Frawley as grandfather "Bub," Don as middle son Robbie.

Don wants to be a doctor — because of his interest

in "machines." He keeps his '56 model

car in tiptop condition, with Lani's help (?).

He really relaxes in country shack Mother bought him

as a holiday hideaway at Malibu Lake! One big

room downstairs, dormitory (plenty of beds) upstairs.

My Three Sons, ABC-TV, Thurs., 9 P.M. EDT, is spon-
sored by Chevrolet Motor Div. of General Motors Corp.

EASY ON THE

Lee Lawson of Love Of Life

shows how proper makeup makes all eyes

(particularly male) turn your way

by JUNE CLARK

Lee applies skintone cover-up, in stick form,
for under-eye shadows — then brushes her brows
upward, straightens stray hairs with tiny comb.

Right: Brows are shaped with pencil, shadow in
a new powder form is smoothed across the lid by
finger. Lee uses skintone highlight between eye
and brow — "invention" to make orbs seem larger.

She uses black liquid liner on upper lid, applies
mascara to lashes. Her daytime eye make-up is
lighter than for evening — method is the same.

■ When a girl has an eye for beauty, she knows the
importance of accentuating the loveliness of eyes. Didn't
a poet once call them the "windows of the soul"? There
are ways to "decorate" these windows — to give them
greater depth and brilliance. Anyone can learn how,
with the right makeup and a little practice, Lee Lawson
believes. Lee plays the exciting role of nineteen-year-
old Barbara Sterling Latimer in the CBS-TV daytime
dramatic serial, Love Of Life. She herself is only a bit

older than Barbara, red-haired, brown-eyed, nose tanta-
lizingly tip-tilted, weight 100 pounds, height 5 feet and
% inch. ("Don't leave out that % inch — I'm proud of it.")
She used to wear glasses, five years ago changed to
contact lenses. Her naturally super-long lashes rubbed
mascara on the glasses, but now they are no problem.
Lee thinks that the trick is to learn to make up so well
that a girl just seems naturally to have eye-allure.

SPECIAL MIDWEST STORIES

THE ALL-DAY
EVERYDAY WONDER

From a fast start at five
in the morning, Jergen Nash
talks the language of the
people — until ten at night!

Hi-fi session for Noshes: Suson, Mary, Jergen, Kathie. Mike was away at camp.

■ Jergen Nash is probably the most versatile man in
Northwest radio. He does the first daytime newscast for
WCCO Radio at 5 a.m. He does a morning music show
with rural appeal right after that. At noon, he's on with
Northwest livestock and general market reports. Then,
at 5 p.m.., Nash sends fifteen minutes of news. Come 9: 30
p.m., it's a half-hour of pleasant music . . . light opera,
show tunes, chamber music and some foreign popular
music. Nash gets mail from all over the United States on
this evening show which leads to a half-hour radio
newscast at 10 p.m. All tired out? Not at all! . . . Nash
is a most unconventional Scandinavian, who delights in
rich-looking but different costumes. "Veddy British, he
must be." But radio listeners in five states consider him
one of them, probably the most down-to-earth man
broadcasting from Minneapolis and St. Paul into Minne-
sota, Wisconsin, Iowa, North Dakota. Jergen talks the
language of the city folks with details of their schools,
churches and freeway traffic problems. He knows thou-
sands of farm families from personal visits to their homes,
farm meetings and school graduations, at which he is a
popular speaker. . . . Name the town, and Jergen has been
there. Name the school, and he has spoken there. Name
an old people's home, and he has exchanged fan letters
with the residents. And pick out any birthday party of
kids from four to twelve years old and Jergen is known
because he's talked about their party on his children's

program. . . . But folksy as he is, Nash has captured at-
tention of the business executives driving from their
plush offices to their swanky lake homes and the time-
clock workers fighting the traffic. That's because you can
hear Jergen Nash on WCCO Radio just about any time
of day. He has the widest variety of programs and one of
the most loyal followings ever developed in broadcasting.
The Nashes' Siamese cat "Tango" has become somewhat
of a Northwest celebrity, too. "We had a bit of a time at
our house over the weekend," Nash told some 180,000
listeners. "Tango just up and quit eating. We love that
Siamese and have been kind of down in the dumps with
the bad news." WCCO listeners offered medical advice,
get-well cards and catnip. One cat from 200 miles away
wrote the Nashes' cat a get-well letter. (The cat recovered
nicely in a week.) . . . When World War II came, Jergen
was still an undergraduate at University of Minnesota
when he was drafted into the Army. He was assigned to
a Special Services unit as a master of ceremonies and
impersonator. He met his wife, Mary Kathleen McMahon,
in Stoneyburn, Scotland. And, by 1944, they were mar-
ried. Their first child was born in England, and two more
children arrived in this country. . . . When the war ended,
Jergen went back to school for a year and a half to get
his degree. Mary sold toys in a Minneapolis store, her
British-Scots accent adding color to her sensible recom-
mendations to customers. Both were successes — still are!

SKIPPER

Out of nautical uniform, Glenn Ryle intro-
duces 1961 polio foster-child on WKRC-TV.

Interviews are part of new Young People's
World portion of Glenn's show. Above with
Chuck Connors, below with Lee Patterson.

From the mythical ship River Queen, a

beloved Skipper Ryle entertains Cincinnati youth

At home with the Ryles: Glenn and his wife Jackie work jigsaw puzzle with Steve, I I, and Cheryl Ann, 7.

Out of Cincinnati onto the great Ohio River sails a
mythical ship called "River Queen," under the com-
mand of Glenn Ryle, who hosts WKRC-TV's Skipper
Ryle Show. This dream ship is the scene for many an
adventure for the young of the Cincinnati area, and is the
top-rated show for children. In appropriate bushy
mustache and nautical attire, Glenn charms his audience
from 5 to 6 p.m., every Monday through Friday, with
such entertaining features as cartoons, interviews and ad-
venture stories. On Saturdays, Skipper's show runs from
10 to 11:30 a.m.; on Sundays, from 10 to 12:30 p.m. The
format for Glenn's weekend specials includes interviews
with visiting celebrities, musical numbers by young local
talent, cartoons, and tales of adventure in Skipper's
inimitable style. Last summer, Glenn incorporated a spe-
cial five-minute news program for children called "Young
People's World" into his Monday-through-Friday shows —
in which fact material overshadows the other, more
whimsical facets of the rest of the program. . . . Glenn

Ryle, the young, good-looking chap who handles the show,
is a veteran announcer on WKRC-TV, with a varied and
complete background in radio and television. A college
graduate with eight years of Marine Corps duty behind
him, Glenn started as a radio announcer and disc jockey
"because I was hungry and a friend advised me to try
radio. I did, and made it — surprised!" Several years ago,
he moved into TV as host for late-night movies, then be-
came a writer-producer for a Midwest advertising
agency. In late 1955, he joined WKRC-TV as staff an-
nouncer, went into newscasting, and then started his
phenomenally successful Skipper Ryle Show. Glenn's club
now numbers 10,000 members. He also generously gives
time for fund raising for polio, heart and cancer appeals.
As a lark, he's also taken courses and become a licensed
riverboat pilot. His tight schedule keeps him from in-
dulging his major hobby, skindiving, though he says, "I
do my skin diving in the bathtub." Glenn's happily mar-
ried, and has two children, Steve and Cheryl Ann.

Happy

New
WERE

Cleveland's WERE has something to celebrate — 4 new deejays :
Jack Daniels, Mike March, Johnny McKinney, Arch Yancey

"*4£jh*

Four deejays, in musical mood: Left to right — Johnny
McKinney, Mike March, Jack Daniels and Arch Yancey.

Happy New WERE! It was with this exuberant battle
cry that a team of fresh air-talent, last spring,
began a new year in Cleveland radio and a new era in
the broadcast industry. The station, one of the originators
of the music-news-sports concept of broadcasting, felt
that the industry needed a different kind of disc jockey —
one who did more than capitalize on a good voice and a
working knowledge of pop music. The top brass at WERE
set about to find a creative group of air personalities who
would work as a team in the writing and production of
the station's programing. Each man on this team, said
WERE, would spend less than half of his time on the air,
devoting the rest of his time to creating imaginative air
activities, clever safety slogans, and a host of fun con-
tests. ... Of the four new men brought in, none wanted
to be a disc jockey originally! Johnny McKinney, 33,
wanted to study medicine. Arch Yancey, 25, got into radio
on a lark — and claims he has been on one ever since —
while both Mike March, 26, and Jack Daniels, 28, wanted
to be singers. ... It was after the slim, quick-smiling
McKinney had been accepted in the U.S. Border Patrol
School that he visited a friend at KNOG, Nogales, Arizona.
The manager of the station heard them talking, hired
Johnny on the spot, and Johnny quickly graduated to
Phoenix radio and TV. It was in Phoenix that he met
his wife Carol, whom he married in 1955. They now have
two children — Johnny, 5, and Danny, 1. John is a 1950

A bit of relaxation on Lake Erie for Carol and Johnny McKinney, Arch and Barbara Yancey.

graduate of Ohio State University, where he had a swim-
ming scholarship. His hobbies now include skin diving
and boating, and he is fluent in five languages, having
lived in London, Paris, Wiesbaden and Guadalajara. . . .
Massive Arch Yancey, who was four times on the Memphis
High School all-star football team, laughed his way into
radio after sitting on the bench (because of injuries) for
the San Diego Spars Navy football team. His radio career
has been happy ever since. In Baton Rouge (WLCS),
Arch commanded 55% of the audience from '56 to '58,
and in Houston (KNUZ) in 1960, Arch won the deejay
popularity contest. Arch married Barbara, his high-school
sweetheart, and they now have two girls — and two
'"hellions," according to Yancey. . . . Mike March spent
four years in the Pacific as a gunner on a B-36 bomber.
Graduating from Pittsburgh's West View High School,
Mike wanted to be a singer — or anything that would get
him into show business — "no matter what!" Mike spent
a year at WCNG in Canonsburg, Pennsylvania, and
another two years at WIZE in Springfield, Ohio, before
coming to WERE. A bachelor, he collects records and is
getting away from football and basketball as a hobby
in favor of horseback riding. . . . Jack Daniels, whose
freckles belie his suave appearance, got into radio by
accident. In Jackson, Tennessee, where he was known
for playing a ukulele, Jack received a hurry-up call from
the manager of WPLI, asking Jack to fill in for a per-

former who did not show up for an hour-long, live
"coffee time" show from a restaurant. Following the
program, Jack was offered sportscasts and newscasts on
the station. A graduate of Madison College Academy in
Madison, Tennessee, Jack did a lot of singing with
choirs and quartets. Now he likes to play the drums and
trumpet, along with the ukulele — all at different times, of
course. Jack and his wife Margie have been married for
eight years. . . . Anchor man on the team is Jeff Baxter,
26, who greeted the newcomers to WERE. Baxter, on the
air from midnight to 6 a.m., six days a week, knows all
his all-night audience is an alert group of listeners
because they make their comments and requests known
to him. Jeff became the confidant of Cleveland night
people in December of 1959 when he joined WERE, com-
ing from WWIZ, in Lorain. He began his radio training
with Armed Forces Radio Network in Alaska, while
stationed there with the Air Force, later worked for
WEOL in Elyria and WLEC, Sandusky. Baxter's unique
and unusual programing features all-night spectaculars,
such as "The Frank Sinatra Story" — which included not
only the music which has been recorded by Sinatra but
also his complete life story, with "pros" and "cons"
from Sinatra friends and foes — and night-club jaunts
spotlighting "in person" performances by noted vocalists
and comedians. Off-mike, Jeff resides in Lorain, with his
wife Denise and two youngsters.

TENTH HOUR
COMMENTATOR

. . . is Jim Conway of WMAQ and WGN-TV — who keeps
his Chicago public well informed, newswise and musically

One weekend outing ahead for six Conways-
8; Jim; wife Audrey; Victoria, 16; Jim Jr.,

left to right: Clancy,
8; and Michael, 13.

■ One of the most active individuals in all radio and
television is Jim Conway, blue-eyed, six-foot-two star
of WGN-TV's 10th Hour News. Born in Chicago on
February 21, 1921, Jim moved to Milwaukee in 1933,
where he attended Marquette High School and Mar-
quette University. It was during his second year of high
school that he met his attractive wife, the former Aud-
rey Wilson, at a dancing class. Jim says he violated
protocol by skidding across the floor to always get
the first dance. . . . Conway was bitten by the show-
business bug when he starred in a high-school presenta-
tion of "The Front Page." Having received training
in language and philosophy which provided him with
a simple, effective delivery, he decided to audition for
Station WISN, Milwaukee, and was hired. Conway
continued to announce for the station while he attended
Marquette University. ... In 1939, Conway became
the youngest announcer ever to do a commercial coast-
to-coast network program. Subsequently, he was heard

on such CBS shows as the Paul Whiteman Show, Mar-
riage Club, Woman In White, Camel Caravan, Ben
Bernie Show, Cloud Nine, Professor Quiz, The O'Neills
and Hint Hunt. . . . Conway feels that radio and tele^
vision "beat working for a living," and is a firm be-
liever in informality and the friendly and direct ap-
proach. . . . The Conways have five children — James
(Chip), 18; Victoria, 16; Michael, 13; Clancy, 8; Mary
Elizabeth, 4. The boys are all interested in the enter-
tainment business, while Victoria is a big help to her
mother in the management of their Lake Forest
colonial home. . . . With Jim's heavy schedule, trying
to be a good father to five healthy youngsters presents
problems. This is the big reason why Jim makes the
family the number-one project on weekends, when he
incorporates barbecues, trips and vacations. And, as if
he didn't have enough to keep him occupied, Jim holds
the rank of lieutenant commander in the Naval Reserve
and flies jets at Glenview Naval Air Station!

On Your Mark

(Continued jrom page 44)
while such things go on, he deserves
his prize. He also has a chance to be a
successful navigator."

Sonny is outspoken on the subject
of proper prizes. "I don't believe in giv-
ing bicycles, bonds or swimming pools.
That competes with what a parent is
able to do for a child. We've tried to
award a prize which only this show can
give. A boy or girl who wants to act
is flown to Hollywood and appears as
a movie extra. A would-be ballplayer
visits spring training with his favorite
team. A boy who wants to be a space
scientist sees the inside of a rocket
and witnesses a launching at Cape
Canaveral. And a political hopeful will
spend time in Washington with an im-
portant Government official. Besides
earning a great treat, the winner gains
lasting knowledge to help him plan his
career."

Kids in the TV audience benefit, too.
Sonny says, "On the serious side, they
find out about many fields of work. On
the entertainment side, we hope they
don't stop with just enjoying the show.
We'd like to see them get together with
their friends, copy our contests and
oompete among themselves. They'll
have fun while trying their future on
for size."

Sonny himself knows the value of
such a preview — his own plans changed
while in college. He was born in Brook-
lyn thirty-five years ago, the son of
Julius A. and Gertrude Fox. He was
named Irwin. Having two sisters, he
inevitably was called "Sonny" and the
name stuck.

Of his mother, Sonny says, "She takes
part in everything that's going on in
the community. Today, she keeps busy
running an agency which books theater
parties." Of his father, he says, "Dad
was in textiles and, because I've always
thought him a great guy, I just took it
for granted I would go into business
with him. We decided I could get the
best training at North Carolina State. I
applied and was accepted."

Time and a hobby intervened. "I was
graduated in February. So, rather than
waste half a year, I enrolled at New
York University. In high school, I had
enjoyed dramatics and the radio club
— I was a shy kid, and playing a role
took me out of myself. While at N.Y.U.,
I found I liked them even more. I talked
things over with Dad and I never did
go to North Carolina. I majored in
radio and took my degree in 1947."

His first job was with Allen Funt on
Candid Microphone. He calls it "darned
good training to think on my feet."
When the Korean War broke out, Son-
ny— who, during World War II, earned
three battle stars and a Purple Heart
and spent three months in a German
prison camp — joined Voice of America.

New Medicated 'Ice"

Clears Oil-Clogged Pores
Gives Close-Up Skin Beauty

Helps stop chief cause of blackheads, enlarging
pores, breaking out— without costly treatments.
Look for results in 15 days — or even less.

Now the greatest of all skin problems— oil-choked
pores— may be controlled with Ice-O-Derm® the
new pharmaceutical ice. Blackheads form when oil
piles up and hardens in pores— pores are stretched,
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2ND FIVE DAYS

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ICE O DERM

3RD FIVE DAYS

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$100

His application precipitated a family
truth session: "I knew I would have to
face a stiff investigation by the F.B.I. I
hadn't the slightest doubt of my moth-
er's loyalty, but I realized she had a
way of signing every petition in sight
and was honorary president of every
organization I'd ever heard of. I sat hex-
down and said, 'Mom, for my sake,
please make a list of everything you've
ever belonged to.' " Both Gertrude and
Sonny stood up under scrutiny and, in
1953, he was sent to Korea.

He covered the war, peace and ar-
mistice. He also sent for his fiancee,
Gloria Benson, of Rochester, New York.
She landed in Tokyo two days before
the May Day riots. They were married

during the upheaval. Sonny says, "At

a Japanese Ward office, an interpreter

helped us fill out the proper papers.

We signed and an official signed. I

turned to her and said, 'Honey, we're

married.' It was about as romantic as

getting a dog license. We made up for

it by having a proper wedding at the

Army chapel two days later."

When his tour of duty ended, Sonny

and Gloria went on around the world,

then paused in New York to consider

job openings. Sonny elected to become

an associate producer at KETC, the

newly opened educational-TV station T

at St. Louis. He says, "I never planned R

to be a performer, but we worked with

a tight budget and the day came when

NEW PATTERNS FOR YOU

9449 — Half-size separates to enlarge
your winter wardrobe. Printed Pattern
in Sizes 14%-24%. Size 16^ vest, skirt
take 2% yards 54-inch; blouse 2% yards
35-inch. State size. 50c1

4846 — Smartly simple sheath with a
pocket-ful of posies. Printed Pattern in
Half Sizes 141/2-241/2. Size 16% takes
3% yards 39-inch fabric. Embroidery
transfer. State size. 35(:

4846 14'/j-24'/2

9449

PRINTED PATTERNS
Fall and Winter 1961

For wide selection
of patterns for all
sizes, all occasions
see our Catalogue.
354

9361

ONE
SIZE MEDIUM

9244

2-20; 40

9361 — Aprons to keep, to give. Make
of 1 yard remnants, trim with rick-rack,
ruffles, binding. Printed Pattern in
Misses' Medium Size only. 25^

9349 — Half-size casual with easy gored
skirt, notched collar, sleeves. Printed
Pattern in Sizes 14%-24%. Size 16y2
takes 3% yards 39-inch fabric. State

size. 35<^'

9244 — Stunning princess sheath. Note
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I was on camera instead of back of
controls. I found I liked it."

The kids liked it, too. When Sonny
left his program The Finder (it is still
being shown on some ETV stations),
the young fans formed a picket line
to protest his move to New York and
CBS-TV's award-winning Let's Take
A Trip. Since the close of that program,
he has headed WNEW-TV's weekend
shows, Wonderama and Just For Fun.

The popularity of those programs
brought a new influence to bear on
Sonny's way of life. As the father of
three children — Christopher, six; Mere-
dith, four; and Dana, one — Sonny cher-
ishes the time he can spend at his West-
port, Connecticut home. He says, "Ours
is an easy-going suburban community
and, like my neighbors, I was likely to
go to the supermarket wearing a sloppy
shirt, paint-streaked shorts and beat
up sneakers."

Unfortunately, as soon as the first
kid spotted him and yelled, "There's
Sonny Fox," they trailed him. If he
wasn't dressed up, they were disap-
pointed. He says, "If you're playing to
adults, they understand you're entitled
to some hours of private life. But, with
a kids' show, you're always on stage."

Recently, he had to have his phone
un-listed. "I hated to do it, but it rang
constantly and I practically had to do
a private command performance for
each kid who called. It wasn't fair to
my family. My own children are en-
titled to as much attention as I can
give them." During working hours,
however, his public foster family re-
ceives the same sort of concentrated
attention. Sonny finds his audience of
children — and their letters exciting.

"I never play down to the- children.
I have a great respect for them. They
are honest and they are malleable. You
give them information and you find
out that an idea has taken root. For
instance, after I had done a special
show from Israel — to show how young
people lived, what games they played,
how they chose up sides — I had a letter
from a young boy. He had heard his
parents talk about Israeli affairs and
was uninterested. But seeing what peo-
ple his own age did whetted his curi-
osity. He now wanted to spend his next
vacation in a kibutz."

Doing news shows for young people
is one of Sonny's pet projects and he
long has incorporated them in his New
York weekend sessions. "I tell the kids
that tomorrow's history is in the papers
today. I remind them that this is their
life and they had better know what's
happening."

He sums up his objectives: "I want to
stimulate, not tranquilize. I'm not con-
tent to be a mass baby sitter." But he
also expresses his own satisfaction:
"Doing a good children's show on tele-
vision is the most rewarding job in
the world."

Make Mine Music

(Continued from page 12)
and me — cei'tainly not in a star in the
theatrical or TV sense. So, in the be-
ginning, you might say we were "Brand
X." Everyone else had the name in-
gredients, the big claims and the magic
formula. Paraphrasing a line from the
popular song, "All we got was us."

We did have a formula or idea — call
it what you like — but there was and
is nothing magic about it. The idea was
to present good music, dictated by
taste, not by best-selling charts. Music
so good that you shouldn't even need a
picture to hold the audience's attention.
Someone has to make music, and that's
where I separated company from other
TV shows.

I decided against using stars. In the
first place, they are over-exposed. Girl
Star appears on Show A with an off-
the-shoulder gown, singing her act . . .
and then Girl Star appears on Show B
in a different gown, singing her act.
That's all right for some shows, be-
cause Girl Star has a distinctive style.
But, in our case, it's the show that has
the style. Every participant in our
show, including me, is part of the whole
mood. To adapt our style to that of an
individual would shatter the format.

Our soloists are Diana Trask and
Leslie Uggams, with Gloria Lambert,
Louise O'Brien and Sandy Stewart.

Leslie is the youngest of the five — she
is eighteen — but none of the girls is
over twenty-three. None was famous
when we started, but that has never
bothered me. I have faith in the audi-
ence. I believe people recognize great
talent and enjoy being in on the dis-
covery of a star . . . and when the
audience takes part in this early rec-
ognition, they are rrfbre loyal than ever.

First, I chose these girls for their
talent and, second, because they are
very attractive females. Take Leslie,
the youngest. She is as professional as
any performer in the business. She is
always fully prepared. She learns a
song fast and quickly grasps the in-
terpretation. Although she has been
richly endowed with natural talent, she
studies acting, dancing, and does very
well in music classes at Juilliard. Add
to this that she is a craftsman, takes
suggestions, and is easy to work with.

Leslie is the beautiful teenager and
Diana Trask is the lovely, sophisti-
cated one. Yet either can sing a blue
or sweet, a saucy or tragic song. Gloria
Lambert, too, can get up and do a
show tune — or, on the other hand,
"Alouette." She bounces. She's like a
ball of energy at the end of a string.
All of them, including Louise and
Sandy, have the quality of great per-
forming ability.

I have only one problem with the
girls — and this is kind of a tale told out
of school: Sometimes the kids get
swinging and begin to phrase as if
they were in a jazz night club. Any one
of them can sing jazz, when they want
to. But I insist that, if they leave the
melody, they do so only in a comfort-
able way and then come back very
soon. They may get a little angry with
me, when I put my foot down . . . but,
in the end, they are always pleased
with the results — and further pleased
because good jazz musicians like our
show.

I've been asked why I have only
female soloists. That's easy to answer.
I need the girl singers, as well as the
eight-girl dancing chorus, to balance
the male chorus — twenty -five tried and
true men. And the men are quite an
interesting story in themselves. They
usually surprise the person who sees
our show for the first time, because
this chorus is again a departure from
other shows, in that our men are not
sleek, Greek gods. Look at them: They
could be the citizens of any town — a
grocer, accountant, shoe salesman, doc-
tor, dentist. They are faces off the
street. And it startles some viewers
that their ages range from that of Bob
McGrath, 28, to Hubie Hendry, 59.

This aggregation of men is quite un-

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usual for TV, and we had some pro-
spective sponsors tell us so. They sug-
gested they would be interested in
sponsoring the show if we got younger
men in the chorus. I never gave their
suggestion a moment's consideration,
although it would have been easy to get
a group of young, glamorous-looking
men. Our men gave the exact effect I
want. They are as ordinary in appear-
ance as I am — but they are extraordi-
nary singers.

The "grocer" and "dentist" you see
on the show are in reality fine, pro-
fessional vocalists. These guys could
get up and sing Mozart or Bach or any-
thing else. Every one of them is adept.
Only one seems to be cast for a glam-
our role, and that is Sam Carter. It's
got to be a joke on the show that Sam
always gets the girl: Whenever there's
a need for a bridegroom or a handsome
cowboy, Sam gets the job.

Nearly all of the men have worked
with me since 1948, when I first as-
sembled them for recordings I made at
Columbia . . . and, of course, they were
on our recording of "The Yellow Rose
of Texas" in 1953. So, when the TV
show came along, it was natural that I
would use them. For most of them, TV
was frightening. It took a lot of coax-
ing to get them to relax. Now, as the
show goes along, they are standing out
as different personalities.

I remember the first time Adrian
Revere had to get up and say, in a
minstrel sequence, "Gentlemen, be
seated." That was all he had to do, but
I never saw a guy more nervous. Re-

cently, Adrian did a tarantella with a
girl and you wouldn't believe it was
the same guy!

And there is Ken Schoen, who has
played Wagnerian roles at the Met. On
our show, however, he has turned out
to be a great humorous character and,
with us, he sings "comic opera." And
then there's Hubie Hendry, who does
great things with eccentric characters.

Finally, on camera there are the eight
girl dancers. But they have more than
dancing talent and beauty. They must
take character parts at times, and they
do very well. In one sequence, for ex-
ample, they played dream girls of his-
tory— and again we were surprisingly
pleased. As Cleopatra, Deirdre Ottewill
exhibited a pixyish kind of humor that
we previously had no hint of. Mary
Lou Ryhal was irresistibly cute as
Betsy Ross. And our choice of dancer
Jeanie Hale, who played Helen of Troy
on the same show, was confirmed by
Warner Bros., who have signed her to
a movie contract.

Of course, when it comes to talent
evaluation, you have to look into Mitch
Miller ... or, as someone once asked
me, "What do you do?" No question
of it, I'm the curious one. Me, a per-
former? Let's face it. Anyone who is
dying to be in show business starts at
the age of twelve, performing when-
ever two people get together, and I'm
forty -nine and just starting.

In my early years, I was a musician
and then a producer for Columbia
Records. I didn't look like a TV celeb-
rity. It just happened. But, actually,

Talented Leslie Uggams, a regular on Mitch's show.

my earlier careers and my other ca-
reers— as A & R head at Columbia, and
as a recording artist — have been of
great value since I stepped into TV.

I mentioned earlier that I turned
down several prospective sponsors be-
cause they had "ideas" for the show.
In truth, I found it easy to be idealistic,
since I had some records going for me
and I had a good job. When you can
pay the grocer and butcher, it's a lot
easier to stick to your guns! I mention
this because I don't want to pose as a
knight on a white charger. Once, in
fact, I turned down the opportunity to
do Name That Tune. I liked the show,
but I thought that it would be good for
me only as a "second show." First, I
wanted to do Sing Along and I con-
tinued to wait until I could do it just
as I visualized it.

What I have done since? Certainly,
I don't do all the work on Sing Alongl
One of my blessed talents has been in
finding the right people to share the
chores, for a TV show is the best ex-
ample of teamwork you will find in
the entertainment business. So we got
Bill Hobin as producer-director; Gor-
don Cotler as associate producer and
writer; Jimmy Starbuck, who stages
the musical numbers; Jimmy Carroll,
who arranges all the music; and Jan
Scott, who does the sets. For them, I
have the music set the climate for
each show and then give them as free
a hand as possible.

Many times, they come up with bet-
ter ideas than I thought of. They also
have the freedom to make mistakes. It
has always been my belief that crea-
tive people are entitled to make mis-
takes— but we weed them out, mine or
theirs, before we begin taping! Each
show gets lots of hard work. A re-
hearsal day may go from eight in the
morning until three the next morning.
This ability to work hard is a very
important part of talent evaluation.
When you see the show, it looks easy,
relaxed, almost improvised, but the
professional observer recognizes im-
mediately the time and energy that
has gone into it.

So, with good music, talented per-
formers, craftsmanship and hard work,
we are sitting there like a poker player
with four aces. We never have a crisis,
a desperate moment when the whole
show falls apart. We have only minor
crises: Something goes wrong with the
costumes, or there is a technical failure.

For example, once we had the girls
doing sitting-up exercises. They were
costumed as the early-morning calis-
thentic girls are dressed on TV, cov-
ered from ankle to chin and right down
to their wrists. But when we saw them
through the camera's eye, they looked
almost lascivious — so we had to stop
and get other costumes.

Then there was the night, after a
long day of work, when we got through

a long segment on tape in what we
thought was a perfect take — only to
learn there had been a split-second
power failure, so we had to pull our-
selves together and do it over. These
are minor crises, momentary let -downs,
and they don't compare with the ex-
hilaration of wrapping up a show just
the way we want it to be. Actually,
we enjoy it. We do have fun. This is
the spirit of the show and, when the
fun of it vanishes, I'll quit.

But having fun is no compensation
for the very, very hard work that goes
into TV. For an adult, there has to be
greater compensation than fun — and I
am not thinking of money. For me, the
real compensation is in reaching the
emotions of the audience. An artist,
musician or writer can't live in a vacu-
um. A fine idea is no good unless you
touch people with it.

I know that we are reaching the audi-
ence emotionally, and it is a broad
audience — the sophisticated, as well as
those with simple tastes. Recently, I
went to San Francisco, for three days.
I thought I would be unnoticed. I
figured my beard would not be con-
spicuous— certainly not in the city that
spawned beatniks — and I wore dark
glasses.

There was no publicity, no announce-
ment in the papers that I was in town.
Yet I couldn't walk a block that I wasn't
stopped several times. It might be a
housewife or a truck driver calling,
"Hey, Mitch, baby — great work you're
doing." Or a very elegant financier
saying, "You have given me great en-
joyment, young man." And it made me
feel wonderful.

This is the kick . . . knowing you've
done something in people's lives they
will remember, that will leave them
with a warm glow. In the final evalu-
ation of a show and its performers, you
must recognize the invisible but giant-
size desire to ingratiate, entertain and
create happiness in the lives of the
audience. This is one characteristic that
is shared by all of us who work on
Sing Along.

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(Continued from page 31)
son Ritchie is five. Mary's not sure
whether Ritchie should watch her on
the Van Dyke show. Already, there has
been confusion in his young mind
because — coincidentclly — her television
son is also named Ritchie. "When my
husband is cuing me on the script, and
I have a line calling Ritchie, our Ritchie
answers — and then doesn't understand
why I called him, when I didn't call.

"It's very difficult to explain to a
small child, because he can't grasp yet
the difference between reality and
makebelieve on the television screen.
Not long ago, he saw me in jail on a
Lock-Up episode. He was very upset.
He kept looking at me suspiciously and
asking, 'When did you get out?' "

At twenty-three, Mary's life story
would read like a young girl's dream.
As she says herself, "I think I have a
lucky star shining down on me, because
I decide I want to do something — and,
gosh, it happens! I think I was born
wanting to be a part of show business.
I've never wanted to be anything else,
except a wife and mother — and here
I am, all three.

"My family moved to California from
Brooklyn when I was eight, and I
started going to a dear, dear dancing
teacher who took us on little trips to
the veterans' hospitals and camps to
perform. I graduated from high school
when I was seventeen, and, on my very
first audition, I got the job. I was
'Happy Hotpoint,' the dancing pixie
on the Ozzie And Harriet commercials.

Even now, six years later, Mary is a
little awed at getting that first job so
quickly. Perhaps now she is even more
aware of how many young actresses and
dancers try and try again and again be-
fore they get that first chance. Typi-
cally, Mary ascribes it to luck, and
not to any dazzling talent. "That was
in June of 1955," she continues. "In
August, I was married. And, in July of
1956, my son was born. That was a
pretty busy year."

Dick Meeker was the boy next door.
"We lived in a house next to some
apartments and, when he moved into
one, my mother got acquainted and
then introduced us. She told me, 'He's
a fine young man. Why don't you two
get together?' Of course, she didnrt
mean for me to marry him — I was only
seventeen. When I told her we were
going to get married, she was furious.
But now she has an entirely different
idea. A couple of weeks ago, she
warned me: Tf you and Dick ever
separate, it'll be your fault and you'd
better have a darned good reason!' "

Not that there's any danger of that.
Dick is even more delighted with her
successes than Mary is. That's because
Mary lists the most important things in
her life as: (1) her husband, (2) her

son, and (3) her career — in that order.
She gets up at 7:30, bathes and dresses
Ritchie, then feeds him and prepares
breakfast for Dick. Her call is usually
for ten or 10:30, so Dick takes Ritchie
to nursery school on the way to the
office. Mary is generally finished on
the set by 4:30. She picks up Ritchie,
takes him home — "and we make like
real people." Mary has had no need to
be tense about her career, to worry
about being seen in the right, places,
to insinuate her name into the gossip
columns. Consequently, Mr. and Mrs.
Meeker live very much like thousands
of other young families, across the
country, in which the wife also holds
down a job.

The role of Sam on Richard Diamond
was Mary's first big step up, because
of the publicity — "and the funny thing
is, I've never before or since been cast
as a sexpot. I've always been the hor-
rible girl next door who has a way-
ward brother or an unfaithful hus-
band. Warner Bros, kept me quite busy
in their various series. I was always the
one who calls Jeff Spencer and pleads,
'Please help him!'

"When they conceived the idea of a
'Sam' on the Richard Diamond show,
they called my agent and asked for
someone with a low sexy voice, and
my agent sent me over to audition.
Which was ridiculous, because this is
the way I talk — in a high-pitched chat-

ter with the Brooklyn accent some-
times coming through." Ridiculous or
not, Mary got the part.

Her newest role Mary attributes to
Danny Thomas's long memory. Two
years ago, she auditioned for the part
of his eldest daughter, along with sev-
enty-five other applicants. Mary and
Penney Parker were the final two
choices. Penney, of course, was even-
tually selected. But, when producer
Carl Reiner was searching for a tele-
vision wife for Dick Van Dyke, Danny
remembered and suggested Mary.

The Van Dyke show is the first in
which Mary plays a sustained comedy
role — not from choice, but from cir-
cumstance— and she positively bubbles
at the prospect. Despite the fact she is
playing opposite such comedy giants

as Van Dyke himself, Rose Marie and
Morey Amsterdam, she is confident of
herself. Timing, the most essential in-
gredient of comedy, is almost second
nature with her and she feels it stems
from her dancing background.

"The first day," she notes, "we all
sat around a conference table and Shel-
don Leonard gave us a little pep talk.
He said one of the vital elements in
any successful show is morale." Leon-
ard is a man who should know what
makes a successful show. As Danny's
right-hand man, he has been largely
credited with the success of The Danny
Thomas Show, The Andy Griffith
Show, The Real McCoys, all of which
are consistently listed in TV's top ten.

"And we have morale, good morale,"
Mary declares. "We all get along just
great. It"s interesting that so many
people from such different backgrounds
can work together so easily. I'm the
only one who's just a normal girl, grad-
uated from an all-girl high school, with
no family background in the business.
The others are real professionals. Rose
Marie was a child star. Morey Amster-
dam is a big name in night clubs.

"And Dick Van Dyke is the most un-
usual comedy actor I've seen. This man
is never still. He's never without an
emotion. He can be without a line for
five whole minutes, and the close-up
camera will show him always think-
ing. He sings, he dances, he's a fine
actor, he juggles, he does caricatures."

Mary Tyler Moore is a vital young
woman. She switches her enthusiasm
easily from the excitement of a new
show to the delight of owning a new
house. Not really a new house. "It's
pseudo-Spanish stucco and we're re-
modeling it to French Regency. With
our little crowbars and hammers, we
knocked out enough plaster to fill a
big truck three times.

"We tore five coats of wallpaper off
each and every bedroom — there are
three of them, centering on a long hall.
The inside is finished, but we're still
working on the outside. We're going to
take out all the old Spanish tile and
put on a French mansard roof, and
we'll have the wrought-iron horses'
heads with the chains going around the
porch, and a double front door."

Mary Tyler Moore is a slight young
woman, and one might think such gran-
diose plans are mighty fanciful, except
for one thing. As she said, "I decide I
want to do something — and, gosh, it
happens!"

It may be that Mary does have a
lucky star, or it may be what the
psychologists call "positive thinking."
Whatever it is, you may count on her
having that mansard roof and the
horses' heads and the chains around
the porch, and just about anything else
she decides she wants.

And the nicest part is, she doesn't
have to push to get it — it just happens!

REWARD $9,985.50 FOR THIS COIN!

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FOR CERTAIN COINS WE PAY UP TO

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Pennies Before 1919.

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Silver Dollars Before 1936.

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Nickels Before 1945.

6,000.00

Dimes Before 1946.

5,000.00

Half Dollars Before 1947.

4,500.00

Quarters Before 1941.

3,500.00

Half Cents Before 1910.

3,500.00

Lincoln Pennies Before 1940.

200.00

Best Values Co., Dept. 183

285A Market St., Newark, New Jersey

Rush your latest large catalogue listing
the actual prices you will pay for United
States Coins. I enclose $1. Send Postage
Prepaid.

NAME

ADDRESS

CITY STATE

Genuine Photo Christmas
Cards With Your Favorite
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NEW DESIGNS FOR LIVING

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Merrily We Roll Along

(Continued from page 10)
pleased a lot of horses, but angered
people. At the time, the New York
Times said, "Americans will never
learn to love the mechanical wagon,
because they will never get used to
speeding along the road behind noth-
ing.-'

At the time, few cars were capable
of forty miles an hour, and anything
over fifteen was considered "furious
driving." In that era, communities had
secret speed limits, changed them with-
out notice and profited by enforcement
at ambush toll stations known as
'"scorching traps."

Cars were denounced as "rich men's
toys'" or "devil wagons." But in spite of
the outcry, people in increasing num-
bers bought cars and learned to drive.
When women began to learn to drive,
the Automobile Age had arrived!

By 1904, the rising fever for the joys
of auto driving brought out 25,000 men
and woman at five in the morning for
the first Vanderbilt Cup Race. A
ninety-horsepower Panhard, a French
car, won by doing the 300-mile course
at an average of fifty-two breathtak-
ing miles an hour.

Ormond Beach, Florida, was the
proving ground for speed. And by 1906,
Americans had seventy -five different
makes of cars to choose from. One of
these, a Stanley Steamer — the "Flying
Teakettle" — ran the Ormond Beach
course at a world's record 127 miles
an hour! It took four years before that
record was broken by a gasoline burn-
ing auto, driven by famed professional
driver Barney Oldfield.

When Teddy Roosevelt, President of
the United States, forsook the horse for

a car, the fad was really on. And the
final stamp of respectability was when
the local doctor bought one.

Advertising and mass-production
methods had put America into a posi-
tion of world leadership in automotives
by 1912. Over a hundred makes of cars
were on the market, driven by every-
thing from compressed air to rubber
bands. The internal combustion engine
generated sixteen horsepower, but also
the warmth of eternal affection. For,
while Americans had flirted with the
others, it was Lizzy, the Gas • Buggy,
they finally fell for.

The Model T cost less than S300,
F.O.B. Detroit. For that you got a car
and a hobby. Every street was Gasoline
Alley, and every owner became a back-
yard mechanic who polished and tink-
ered. Here was a car anyone could
afford, and almost anyone could start.
Air was free. So was water. And gas
was 22c a gallon, including 2d- tax.
Gasoline, which had once been thrown
away as a waste product of oil refining,
now supported a new major industry.
With more cars on the road, more good
roads were demanded and laid down.
We didn't know where we were going.
We only knew wherever it was, we
were going by car.

And whether the car of the future
will be nuclear-powered, radar con-
trolled, gyro-steered and vitamin en-
riched . . . it'll have license plates front
or back, headlights and a horn. And,
once in a while, we'll still have to get
out and give it a shove!

Editor's Note: The above text is ex-
cerpted from the actual TV script for
Merrily We Roll Along on The Du
Pont Show Of The Week.

Lure of pretty girl models storted early in automobile advertising.

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The Champ Who Took On The Chimps

{Continued from page 15)
three years, through frequent exposure
on the Jack Paar show. She is just what
she appears to be with Paar — only
more so. Peggy Cass is witty, senti-
mental, a hip professional actress, and
insecure. She recently went to a psy-
chiatrist to see if she required therapy.

"I took the Rorschach ink-blot tests
and a lot of others, including a block
test, which I flunked," she says. "I
haven't yet received an emergency call,
so I guess there's nothing to be alarmed
about. Frankly, I just felt frightened
about the move to California to do this
TV series. It meant packing all my bags
and leaving behind all my friends. This
kind of move is like stepping off a dock
into the water, when you don't know
whether it's going to be shallow and
warm or deep and icy."

She doesn't think any brain-probing
doctor will discover traumatic experi-
ences out of her early childhood. She
remembers with gusto her early years.
Her father, now deceased, was a pub-
licity man and then matchmaker at the
Boston Garden. So a professional fighter
taught Peggy to jump rope and she
could do "salt, vinegar, mustard" faster
than any other child in the neighbor-
hood. She had free tickets to the circus
and hockey games, which made her
very popular.

"I was born in Boston," says Peggy,
*'but that's because they couldn't bring
the hospital across the river to Cam-
bridge. We lived in a very nice neigh-
borhood among the Harvard students,
and that's where I got my marvelous
education — by osmosis."

She first became aware of a talent for
mimicry when she was seven. She
would join the attendants at a nearby
gasoline station and do imitations of
Gracie Allen. As compensation, the men
would allow her to turn the crank on

the gas tank. This thrilled her.

"And I loved to go to movies. That's
how I got run over by an ice truck,"
she reminisces. "I was rushing to re-
turn two empty milk bottles, for the
deposit, when the truck hit me. I was
bedridden a long time and I think it
turned out that it was the truckdriver's
fault. He was slightly alcoholized. A
man driving around with all that ice,
I guess you'd expect him to have the
mixings."

Actually, Peggy got very little en-
couragement to become an actress. She
first attended Cambridge Latin School.
"In eighth grade, we did the play
'Evangeline.' I wanted to be Evangeline
but they gave the part to Ruth Toomey
and it burned me up. All I did was the
preamble. High school wasn't much
better.

"I got into the dramatic club and felt
very proud," she recalls, "but I didn't
get into one play. Well, you know I
went back to my old high school two
years ago for pictures, and all that
jazz, and they said, 'Drama club stu-
dents, drama club students — Peggy
Cass, an ex-member of our club, is here
today and she's been very successful on
the stage.' And I wanted to grab them
and say they never let me do anything
there. Absolutely nothing."

Still half-serious and half-kidding,
Peggy continues, "It seems, most of the
time in high school, you just walk
around the halls, stop off at the water
cooler and give some other kid a
couple of punches. The high point of the
day is lunch. I used to hate the food at
the school and made up something
about having rheumatic fever so I could
go over to the luncheonette. For thirty-
five cents there, you could get a Coke,
tomato soup and peanut-butter crack-
ers. And then, the other kids smoked
and you felt like a big shot."

WatchTRUE STORY

on your NBC-affiliated television station on Saturdays

See your local paper for time and station. Exciting
stories of actual events and people, straight from the
files of TRUE STORY Magazine— narrated by Kathi
Norris.

And don't miss "MY WACKY WONDERFUL
LIFE WITH SCHNOZZOLA," a delightful feature
by Mrs. Jimmy Durante . . .

Kiiilii Norris

«■"«— TRUE STORY M—

The Woman's Guide to Better Living
Buy Your Copy Today Wherever Magazines Are Sold

Out of high school, Peggy took a
secretarial course, then moved on down
to New York, working as a secretary
and using her lunch hour to make the
rounds of casting offices. Her father,
impressed by her continued zeal, fi-
nanced several months' training at New
York's Tamara Daykaharnova's School
for the Stage. After being tutored by
Uta Hagen and Myra Tostova, Peggy
got a part in the U.S.O. production of
"The Doughgirls."

It was while she was in Brisbane,
Australia, with the troupe that Peggy
met her future husband, Carl Fisher,
then a supply sergeant and now a busi-
ness manager for top Broadway pro-
ductions. "Carl and I weren't married
for some four years," she says. "At the
end of the war, I joined the road com-
pany of 'Born Yesterday' as under-
study to Jan Sterling."

The following season, she was on the
stage when she toured with Bert Lahr
in "Burlesque." She made her Broad-
way debut in the revue "Touch and
Go" and her film debut with Judy Hol-
liday in "The Marrying Kind." She has
worked in many shows, including a few
turkeys, but her most memorable per-
formance for many was the part she
played of "the pregnant secretary" in
the Broadway and movie versions of
"Auntie Mame."

None of it came easy. Between acting
jobs, Peggy worked as a model, secre-
tary, cashier, and once in a small Italian
restaurant. "I was kind of a call girl,"
she recalls. "I mean, I would call people
who were waiting for a table when
there was a place for them to sit down.
And then I had to direct traffic to the
rest room. There was only one rest
room and I had to pretend there were
two, one for each sex. It was like being
a traffic cop. But I didn't stay long on
the job. Dinner was part of my com-
pensation and it was always spaghetti,
and I was afraid I'd blow up."

There is no question in her mind that
the turning point in her career came
about with her appearance on The Jack
Paar Show. As she recalls, "I didn't
want to go on. I'm an actress, not a
comedienne or a performer. I've never
worked as a performer. But it was my
very dear friend Jean Kerr who sug-
gested to Paar that he get me on the
show.

"One day, a man named Tom O'Mal-
ley calls me up, says he represents
thirty-six different Midwest news-
papers, and would I meet him at Sardi's
to do an interview? Naturally, I am
charming, because I visualize my name
appearing all over the Midwest the next
day. But, at the end of two hours, Tom
says, 'I'm really from The Jack Paar
Show. I've been putting you on to see
how you talk. Will you come on the
show?' "

Peggy politely said no, got up and
walked across Sardi's to another table
where her husband was waiting for her.
And, for five months, she continued to
refuse — until she began to worry that
she was making Tom O'Malley look
lousy.

"I was really frightened to go on,"
she admits. "On the Paar show, you
have to 'write' your own words as they
come out of your head — and how did
I know that I had editorial sense? I
might get nervous and say something
awful, or maybe just sit there frozen
into silence."

But she went on, and returned, and
returned, and has become a TV satel-
lite in her own right. Peggy feels that
the Paar exposure has been directly re-
sponsible for her getting the role in
The Hathaways, as well as motion-pic-
ture interest. She recently played a part
in the film, "Gidget Goes Hawaiian."

"Personally, it's wonderful to be rec-
ognized— and then it isn't," she says.
"I had to get an unlisted number, for
the first time in my life, after getting
three a.m. calls from strangers inviting
me to parties. And then it's embarrass-
ing for a woman to go out to dinner
with her husband or an old friend, and
have the headwaiter ignore the man
and fuss over the woman."

Peggy's pleasures are fairly simple:
People, dinner out and lots of talk, or
a good book with Sinatra records in the
background. In her New York apart-
ment, there is a vast collection of china
cats and she is also proud of her collec-
tion of tinsel prints, authentic ones
made in the nineteenth century. She
likes to travel and, with her husband,
has covered all points from Tangiers to
Sweden. She loves the water, swim-
ming and water-skiing.

"I can stay on a beach from eight
a.m. until nightfall," she says. "I can't
remember when I didn't swim. My
father was from Gloucester and we
were there every summer. I was in a
bathing suit all the time except Sunday,
when I put on a dress to go to mass."

Peggy has one sister who works for
the State Department in Portugal and
a brother who lives on Long Island.
Her mother lives in Belmont, Massa-
chusetts. ("We're in constant touch.
She called me last night about a formula
for her hair.") Peggy doesn't hold with
the theory that a person can have only
one close friend. She numbers several,
including Jean Kerr, Alice Pearce, Joan
Lorry, who works in her manager's
office, and Jan Sterling. Peggy is the
godmother of Jan's child, and Jan stood
up for Peggy at her wedding.

Peggy expects a certain amount of
respect for her serious side. "Actually,
it's a drag when people expect you to
be funny. When I find this happening,
I turn on the frost. I'm not really a
clown. My husband seldom laughs at
me. Here and there, I can get a laugh —

but that's just normal."

She speaks with great feeling about
her husband Carl. She speaks of his
kindness and generosity and notes that
he's very bright. ("Don't mention that
he has a Phi Beta Kappa Key, because
it would just embarrass him.") They
have been married more than twelve
years. But, just prior to Peggy's mov-
ing to California, a few columnists re-
ported that she and her husband had
separated.

Peggy doesn't deny that, nor does she
deny they have been undergoing mari-
tal problems. But her voice, as she
speaks of her husband and her mar-
riage, tends to express the hope that
somehow the differences between her
and her husband will be resolved for
their mutual happiness.

In Hollywood, she has rented a house
for seven months where she now lives
alone. She has little time to be lonely,
since she is up at five-forty in the
morning and home after seven. The
making of a TV series is strenuous and
demanding, so Peggy has had to give
up most of her social life.

"I should be kind of an authority on
chimps, though," she says, "and, so far,
they have been a ball — although there's
one kind of crazy thing we go through:
In the beginning, the trainer was shy or
something and, without knowing it, we
began to call Charlie 'Enoch' and Enoch
'Charlie.' And now it is nutty, because
we have to say, 'Enoch — not you, Enoch
— you, Charlie!' The smallest of the
chimps, Candy, is so smart and cute.
But it's amazing to see all of them go
through a whole routine without a mis-
take."

Peggy Cass has a twenty-six week
contract for the series. She likes that.
"It means something you don't have in
the theater. I mean, even if we get poor
reviews in the beginning, we still have
a chance to improve ourselves." And
she tries not to think of the possibility
of one of the chimps biting her. "Of
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Fred MacMur ray's "Second Son"

(Continued from page 46)
MacMurray had said, "I can do this.
Sit right here, Don." And, so saying,
like any good father meeting a family
crisis, he began cutting hair.

It's no wonder that Don Grady looks
up to MacMurray like an admiring son.
"He's the greatest. I'm learning from
him all the time. I'd never played
comedy parts before, but it's not hard
with Mr. MacMurray's help. He's
teaching me timing, just by letting me
watch him."

MacMurray, for his part, brags about
Don like a proud parent. "He's a fine
youngster, with a fine talent. He takes
his career seriously and studies hard.
He's an A student in his academic
studies, and I'd rate him an A on his
acting ability. I tell you — he's a real
exceptional youngster."

Don's friends rate him as an excep-
tional type, too. But for a different
reason: They think he may be a little
nutty. Like what he said, last spring,
when he was able to spend six full
weeks attending regular classes as a
junior at Burbank High School. Don
had a real ball doing it — and said so.
"You're plain nuts," said the other boys
incredulously. "Brother, for a TV actor
to say he likes school sure sounds
crazy!"

"But," Don explained, "school is fun —
if you don't go often. You don't know
what it's like to think about you fellows
going out for sports and everything —
and all the girls at school — and stuff.
Why, to get to come to Burbank High
this six weeks is like a vacation."

Since said "vacation" consisted of
taking a stiff college preparatory
course, including second-year algebra
and French, this statement called for
considerable elaboration. "Sometimes,"
said Don, then just sixteen, with all the

normal interests and reactions of that
age — and not one shred of vanity, de-
spite a load of talent and an already
successful career, "I feel empty. I'm
missing the most precious years of my
life: High school.

"Sure, I'm alive, and I'm taking high-
school subjects on the lot. But I'm
missing the things most people like to
remember always as some of the neatest
things that ever happened to them.
I'm grateful to be on the show. I enjoy
acting and hope to make a movie
pretty soon. But when the Burbank
High School coach asked me to be on
the swimming team, and I had to turn
it down — well . . ." Don made a small,
frustrated gesture, then added in an
explosive rush, "Well, it would be just
the neatest thing in the world to earn
a high-school letter!"

Despite the shortness of his stay in
regular classes, the student body ac-
cepted Don as one of its own. Nobody
treated him like a celebrity, and no-
body appeared to be jealous. Don, in
turn, involved himself in school affairs
as much as he possibly could. "I didn't
miss a football game or a basketball
game or a track meet all year, and I
only missed one dance. The boys and
girls treated me just as they would if I
were in school all the time. What I'd
like," he admitted with youthful can-
dor, "is to know every girl in Burbank
High School." .

One change Don made during those
six fateful weeks affected his physical
appearance. He got a crew cut. "I like
to swim and surf, and short hair is so
much more convenient. On television,
the singers started the long-hair bit,
but the boys I know wear short hair.
I'm going to talk to the producer about
it, and see if I can't wear short hair on
the show next fall."

Why not wvrite us a letter? "-*1

HOW MANY
YES NO EACH MONTH?

Stories on major established performers on TV

Stories on the people you see on TV who are

internationally prominent, but not entertainers

Discovery stories on new talent in TV and in the

recording field

Stories on developments in TV, such as Pay TV,

Color TV, international projects, etc.

Reviews of new TV series (one a month)

Behind-the-scenes stories

Send to: TV Radio Mirror, Box 2150, Grand Central Station, New York 17, N. Y.

Don takes his studies so seriously be-
cause he's considering a medical career,
but he isn't completely sure what his
final choice of a future will be. "I think
I'd like to be a doctor, because the
human body is so much like an auto-
mobile^— or a machine. I want to know
all about all sorts of things. I'd like
to be able to fix a television set. And
I think I might like to be a director.

"I do know that I don't want to be
an actor all my life, because I'd rather
not be recognized when I walk down
the street." When Don is out with a
date and strangers recognize him and
want to talk to him, he is flattered but
says, "It must be rough on the girl to
have her evening interrupted."

One time, at a skating rink, Don got
word that a group of boys were plan-
ning to start a fight when he went out-
doors, just so they could say they had
fought with an actor. "I was with a
friend who is pretty big and muscular,"
he recalls. "He and I went over and
introduced ourselves to the boys. We
talked a while, and there wasn't any
fight. Maybe they didn't know before
that I was with such a big muscular
guy."

More likely, the fight-happy group
hadn't had enough of a closeup before
to notice that Don is a pretty muscular
guy himself!

Despite the complimentary fan mail
he receives from girls, Don is really a
little bit awed by them. Even the fact
that he has two sisters doesn't give him
complete confidence with the opposite
sex. "As you get older," he says, "you
get so you can talk to girls. But, lots of
times, a boy will like a girl and will be
afraid to let her know it. It's happened
to me. In junior high."

Don remembers a girl he particularly
liked to whom he wouldn't even speak
— he thought she was so wonderful.
They went to school together, and the
girl always gave him a friendly greet-
ing when they passed in the hall. But
Don, fearful that he'd bare his heart if
he opened his mouth, only looked at the
floor and shuffled by.

Finally, a friend told him, "That girl
likes you a lot, but she thinks you are
stuck up, because you never speak to
her. Why don't you be more friendly?"
Don considered the prospect and re-
solved that he would smile one day
and ask if he could walk the girl home.

But he found that he simply couldn't.
Whenever he saw the girl, his greeting
froze. "I never did speak to her," he
recalls ruefully. "She finally moved
away. I guess she really does think I'm
stuck up."

Now, from the vantage point of his
added years, Don can appraise his
growing pains objectively. "I see the
younger kids at parties, with all the

boys in one corner eating ice cream and
all the girls in the other corner, and I
know that's how it's got to be. It will
always be that way, and I think it's
pretty nice. It's nice to grow up gradu-
ally and learn to talk with girls. It's
something to look forward to.

"Sometimes my sister Marilou, who
is thirteen, complains that the boys
have been teasing her, but I tell her
that's good. It means they notice her.
I like to kid her around a little, too,"
he grins, in the patronizing manner of
all older brothers. "It's good for her."

Don is devoted to his mother, a talent
agent. "She lets me make my own de-
cisions," he says, as partial explanation
of his devotion. But, as he talks, it
develops that his mother is a watchful
and concerned parent who sees that
he obeys the rules she has set for his
welfare. "I'm supposed to be in about
midnight — and, if I'm not, I get docked.
It doesn't do much good to try to sneak
in, either.

"In the first place, my mother is
awake when I come home. In the
second place, my bed squeaks. I re-
member one night I thought I'd got in

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without awakening anyone — until I
tried to lie down on that bed. What a
noise! I had to ease down, first one
way and then another, to keep every-
body in the house from hearing me. It
took me nearly an hour to lie down."

Don became a television star by way
of dancing school. His mother enrolled
him in dancing classes when he was
only three years old. A scout tapped
him for the Walt Disney "Mouseketeer"
group on TV and, from that, he was
graduated into the "Spin and Marty"
series on the same show. He made his
first dramatic appearance with John
Payne in an episode of Restless Gun.

For one so young, Don has had sur-
prisingly varied professional experi-
ence. Before he joined the Disney ag-
gregation, he led an eight-piece band,
"The Junior Sharps," which played for
civic and fraternal events.

"A couple of years ago," he remem-
bers, "when I wasn't appearing in a
series and was just a plain boy" — Don
uses this expression, "plain boy," wist-
fully— "I worked in a lumber camp one
summer. It took some pursuading to
get my mother to let me go, but I had
a neat time. I'd like to do that again."

Even earlier, Don was a newspaper
man. For twenty-five cents a week,

he leased a mimeograph machine and
became a publisher. The paper was
"The Lightning Gazette." Don and
four reporters made up the entire staff,
for advertising, as well as news. He was
then in the sixth grade.

"By the time we'd been in business
a few weeks," he says, "we had sixty-
three subscribers, and our advertising
rates went up from a penny to a nickel.
When there was a big fire, the four star
reporters and I jumped on our bicycles
and went. We got more news than re-
porters from the real newspapers, be-
cause we knew the firemen better."

Currently, Don is a motion picture
producer. With an eight-millimeter
camera, he has made two pictures and
is working on a third. His colleague is
a youth Don describes as "a genius" —
who, at eighteen, has already sold a
script to The Danny Thomas Show.

All of Don's home-produced movies
so far have a jail locale, because a jail
is the only set he has built. The boys
tape their sound effects from television
programs and then synchronize them
with their picture.

Don has great regard for the producer
and the director of My Three Sons —
who, he says, go all out to make the
actor's job easier. "Like, sometimes, a
script will have me saying, 'gee whiz.'
Nobody ever says 'gee whiz' in real
life. Or 'golly.' 'Golly' is pretty an-
cient, too. So I just change the line a
little, and it's all right with the
director."

Don is recognized in the industry
as a composer, because he has a pub-
lished tune. However, he scoffs at this
and says the whole thing was an acci-
dent. An episode in My Three Sons
called for Robbie, the son Don portrays,
to play the piano. The producer had
planned to dub in music after Don
"faked" at the piano. However, Don
improvised such a catchy melody that
his improvization was recorded and
used on the show. It has been published
as "Robbie's Tune."

"That wasn't composing," Don insists
modestly. "I just sat down and played
something. When I do that, I couldn't
play the same thing again if I tried."

Don — the actor, composer, journalist,
athlete and prospective doctor — has the
diverse talents and interests, the intelli-
gence and modesty, of a teen-age Pat
Boone. But he's not a copy of Boone
or anyone else. The person he most
nearly suggests is that mythical char-
acter, the All-American Boy.

Teasing his sister, timid with the girl
he likes hest, constantly curious about
the world, and filled with an energy for
learning, Don is like millions of Amer-
ican boys. As a result, so is Robbie.
That's one reason both Robbie and Don
have become favorites in households
everywhere who recognize in this one
teenager a brother, a best friend or

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Kathy Nolan: My Daring, Darling Daughter

(Continued from page 22)
fairytale kingdom afloat. At night, it
always was aglow, sparkling with the
excitement of the crowds flocking
aboard to the fun of our old-time melo-
dramas. Kathy and her sister Nancy,
four years her senior, shared the cozy
adjoining stateroom on the top deck.

Everybody adored our girls. Their
greatest larks came when they could
dress up in fancy costumes for the call
of "Curtain going up!" Dashing behind
the footlights, they helped woo our
audiences. Inevitably, there was more
music as we sang and danced merrily
in the after-show charades.

Since I insisted that the girls go to
public schools for a normal youth, we
eventually moved ashore to St. Louis.
Then we were thrilled when the show-
boat tied up permanently on the river
front and we could go back to it, nights,
to act! Kathy's life was far from aver-
age, as she and Nancy grew up playing
increasingly larger parts there. But we
weren't "theatrical parents," never took
a dime of their earnings.

I encouraged them when they wanted
to try their wings, because self-reliance
has always seemed an invaluable asset
to me. Kathy enthusiastically learned
to cook and sew before she was a teen-
ager— she made all her own clothes,
and most of Nancy's, from grammar
grades on. She discovered a job in a
drugstore, organized a baby-sitting
group, and became a cute carhop at a
drive-in restaurant after her regular
classes. And, evenings, she was with us
on the boat.

Being happily together in a real home
was the most important thing. All her
own friends were welcome. I was proud
when she was voted high-school cheer
leader three years in a row. When she
went steady with a nice football hero,
I didn't thunder. I respected and trusted
her.

Not that we didn't have a big fight
when she was fifteen! A touring Broad-
way musical troupe dangled an offer
for her to join its chorus. Kathy tear-
fully claimed I was holding her back
from her career by not letting her ac-
cept a chance that loomed as fantastic
to her. I caused such a catastrophe,
with my determination that she finish
high school, that she wouldn't speak to
me for two weeks. Later, she said she
wouldn't have missed her senior year
for anything, and she's kept fondly in
touch with the friends she grew up with.

She graduated and was playing leads
on the showboat herself at sixteen. One
day, she vowed to earn her tuition for
dramatic courses at the Neighborhood
Playhouse in New York. Once Kathy
makes up her mind, she's a whirlwind
of energy. That summer, she was at the
boat weekend evenings and held down
two other jobs, as well. She was an
accountant at an electrical plant, then
rushed to change into her uniform for
her shift as a carhop once more. Final-
ly, she climbed on the bus that fall, still
sixteen, but blessed with the affection
of everyone who knew her.

Kathy didn't just study in those big-
city classes. She paid for her living ex-
penses by ushering at the Palace The-

Kathy's actor-father is great help as a cuemaster.

ater on Broadway, for fifty-five cents an
hour, the six months Judy Garland ap-
peared there. After that, she sold pea-
nuts in a Times Square shop. Nights,
she sold tickets at a neighborhood
movie — to have her days free when she
was ready to make her rounds of TV
casting offices.

Then, in a year, she was the leading
lady in her first television series, Jamie.
It led to her name up in lights on
Broadway, as a stage star with Mary
Martin in Peter Pan — one month after
her twenty-first birthday, I remember.

Then Hollywood beckoned, but Kathy
herself has never "gone Hollywood." In
fact, she never has done anything
against her principles, in order to pro-
gress. Of course, she's had her portion
of disappointments, for she dreams and
strives for a full life. But Kathy thinks
properly and 'tomes to good decisions.

Since I myself went further on the
stage, and* into TV and the movies, I've
been near her and we've continued a
great relationship, sharing problems
and joys as a father and daughter can.
I was proud that she asked me to be
her escort to the Moulin Rouge when
she was nominated for an "Emmy."
And that I could be one of her bunch
when she planned her first formal party
to announce the engagement of two
pals.

She hadn't had time to fix up the
house she had bought from Carolyn
Jones. Since Kathy cares so much
about others, half-a-dozen of us who
were working days — as she was — vol-
unteered to meet her every night for a
frantic week of painting and refurnish-
ing her house with her selections. Later,
I overheard her telling Cary Grant,
who was one of the admiring guests,
"Put together with loving hands!"

Kathy listens with her heart. But I'll
admit mine shuddered when she jumped
out of a plane, four thousand feet above
the San Fernando Valley, because she
couldn't resist trying a parachute drop
with Jim Franciscus and Jody McCrea!

And my heart nearly broke, when she
lay so helpless in a hospital bed for
three dread months this year. (She had
had a premonition that the horse she
was ordered to ride bareback, for a TV
scene, would be too dangerous.) For-
tunately, though she was in agony a
long while after she was thrown, and
had to undergo a spinal operation, she
is now wholly recovered.

At the time, as her fate unfolded so
slowly, we all prayed she wouldn't be
left crippled — and I saw Kathy at last
learn patience. Now my only prayer is
that she find the right person with
whom to build the perfect marriage she
wants. Kathy has been cautious about
love, but that's just one more reason
why she can be a wonderful wife and
mother!

The Beauty on a Ticker-Tape Tangent

(Continued from page 24)
watch her in the new CBS -TV series,
Father Of The Bride." Myrna looks so
utterly, one-hundred-percent feminine.
The fluffy, helpless, clinging-vine-type
feminine.

Her glistening black hair is done in
an artfully careless fashion, and her
white-white skin seems all the more
pale by contrast. The huge green eyes
seem to stare, surprised, at a world not
completely comprehensible to her. The
fine bone structure, the slender shape
with its infinitesimal waist ... It all
adds up to one of those "please protect
me" types.

But don't you believe a bit of it!
Behind all that guileless facade lies a
mind built like a steel bear-trap, and a
tenacity of purpose which verges on
the eccentric — at least, for Hollywood.
Because, in Hollywood, it's practically
eccentric for an up-and-coming young
star to live beneath her means rather
than beyond them.

Yet Myma, who could afford a house
of her own in the chic "above the
Strip" neighborhood, shares an apart-
ment with her mother. And it's only a
small apartment, in a modest building,
in one of the less-swank sections of
Beverly Hills. You get the clue, how-
ever, when Myrna grins: "I don't own
the building, either — yet."

Give her time — she will!

For Myrna is one of the prettiest
customers ever to plunge, up to her
shell -pink ears, in the stock market.
She can quote you the opening and
closing prices on the top stocks, and
tell you just which ones have doubled
their value in the past thirty days. She
even has two brokers: One for solid,
long-term investments, and another for
speculative stocks.

Myrna's dabbling in the speculative
market is no hit-or-miss operation, no
blind process of sticking a hatpin into
the financial pages to find which stocks
to buy. She listens carefully to knowl-
edgeable friends, does considerable in-
vestigation on her own — and goes the
rest of the way by sheer feminine in-
tuition.

And don't knock that intuition! One
tidy little transaction last spring, in a
highly speculative stock, netted her
sufficient capital to finance a trip to

Europe for five weeks, hitting the high
spots — London, Paris, Madrid, Rome,
and the Film Festival at Cannes. And
she'd prefaced that trip by a long visit
back East with those of her family still
living there.

Myrna's talent for matters monetary
isn't confined to the stock market, by
any means. In an environment where
foreign cars, mink coats, and extensive
wardrobes are considered "but absolute
necessities," Myrna's way of living
seems almost ludicrous. For one thing,
she doesn't own a car. "I just don't like
cars — they get obsolete so fast," she ex-
plains, all seriousness.

"You tie up a terrific amount of cash
in a car — and, after a couple of years,
what have you got to show for it?
Nothing!" So Myrna rides to and from
work each day in a taxi. At first gasp,
this may not sound like frugality. But
— as she points out — it's all deductible,
a perfectly legitimate business expense.

Furs and fancy clothes don't fasci-
nate her, either. "Furs wear out," she
shrugs. "For what they cost, you can't
possibly get your money's worth!" As
for clothes, she loves pretty things and
has plenty of them. But she is more
apt to shop for same at an inexpensive
chain store than at the big, posh Bev-
erly Hills salons. She has a flair for
the dramatic and, with her coloring,
can do more for a $14.95 frock than
most women can for a $200 custom-
made job.

There's one area of feminine frip-
pery in which Myrna indulges, and
with no attempt to conceal her enthusi-
asm. That's for jewelry — or, more pre-
cisely, jewels. "I bought a square-cut
emerald last week," she sighs ecstati-
cally. "It is absolutely the most beauti-
ful thing I have ever owned. And part
of its beauty is the fact that I can wear
it, and look at it, and enjoy it for years
— and it will still be as valuable as the
day I bought it, maybe even more so!"

Her canny way with her weekly pay-
check may be a heritage Myrna re-
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likely it is the result of her family's
living, since before Revolutionary days,
in New England. She was born in South
West Harbor, Maine — the daughter of
a shipbuilder. So far as she knows, no

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one in her family ever earned their
living on the stage . . . clear back to
Capt. Andrew Newcomb, an ancestor
who came over on the Mayflower.

Back in Pemetic High School, Myrna
dabbled briefly in dramatics, appearing
in the senior class play. But this didn't
thrill her nearly so much as the fact
that she also captained the girls' bas-
ketball team. After graduation, Myrna
accompanied her parents on a vacation
trip to California . . . and fell, fast and
hard, for the beguiling climate.

Consequently, she was forced to come
up, in a hurry, with some valid reason
for staying on in southern California.
Most any West Coast college she could
have suggested would only have stimu-
lated a counter-suggestion from her
parents, who would have named an
equally good eastern school. Happily,
Myrna thought of Pasadena Playhouse
. . there wasn't any equivalent to that,
back East.

She must have been a pretty good
actress, by instinct, because she was
able to convince her parents that this
was the one thing in life she really
wanted. No matter that she'd never

once mentioned an acting career be-
fore that very week! So the folks went
back to Maine, and Myrna stayed on in
Pasadena, having signed up for a year's
course.

But, within months, she was spotted
by photographer Paul Hesse, who
talked her into becoming a "Miss
Rheingold" contestant. As a finalist in
the contest, her picture was seen by
several Hollywood agents — and she was
on her way. Her first professional job
was with the late lamented Matinee
Theater, and she so impressed the pro-
ducers that she did seven more Mati-
nees within a few months' time.

Since that auspicious beginning,
Myrna has chalked up nearly a hun-
dred television appearances, on every-
thing from Perry Mason to Dobie Gillis,
from Surf Side 6 to Gunsmoke. (Since
it is second nature for Myrna to be
able to assume a look of sweet inno-
cence, she has been cast for umpty-
ump times as the wide-eyed ingenue
in Westerns. One Hollywood columnist,
writing about her, commented "eight
out of every ten sheriff's daughters we
see on TV are played by a wide-eyed

actress whose name is Myrna Fahey.")
Myrna also has two feature movies
on her credits — "The House of Usher"
with Vincent Price, and "The Story on
Page One."

After it was announced that she had
been chosen for the Father Of The
Bride series, there were a few inevita-
ble comments about Myrna's "filling
Elizabeth Taylor's shoes." Even so,
there were many people who had to
be reminded that it was Liz who played
"the Bride" in the original MGM movie
which inspired the series.

To all such remarks, Myrna tossed
a couldn't-care-less shrug. "They didn't
call Leslie Caron 'the new Audrey
Hepburn,' when she did 'Gigi' after
Audrey had done it on Broadway. I
doubt if they call Rosalind Russell 'the
new Gertrude Berg,' just because she
made the movie version of 'A Majority
of One', which starred Miss Berg on
the stage. It's just a part. And I figure
it's about the only thing I have in com-
mon with Miss Taylor," says Miss
Fahey — who obviously has been too
busy, watching the Wall Street ticker
tape, to look into a mirror lately!

{Continued from page 39)
their best," he explains, with a warm
smile.

Because they are meeting new friends
this season, and because each member
of the troupe has a lively and well de-
fined personality, re-introductions are
in order: First, their "boss," Burr Till-
strom. Burr, a blond, wiry, gray-eyed
bachelor, now lives in a Beekman Place
apartment in New York. He is a
thoughtful man who once planned to
be a teacher, and now comments on
life through the characters he has cre-
ated. Kukla was the first hand puppet
he created — as distinguished from mar-
ionettes operated by strings — and Burr
admits, "Things I was then too young
and ignorant to dare say for myself,
Kukla said for me."

Kukla is still his spokesman, now
that TV has provided Burr with a mass
audience on an intimate level. Some-
times the comment is funny; sometimes
profound. Always, it is made in terms a
child can understand. It reflects today's
world and what Burr thinks of it.

Burr was born in Chicago, some
thirty years ago, second son of Dr. Bert
and Mrs. Alice Tillstrom. He grew up
there, and in Benton Harbor, Michigan,
where the family spent its summers.
Burr credits his father with originating
Kukla's voice. "As soon as he came
home for weekends, my brother and I
y demanded stories. We went for long
„ walks. Every animal and every bird
had a personality, and two personalities

made a plot. Like Dad's little animal
70

The Kuklapolitans Return

characters, Kukla's voice is sort of in-
nocent and sweet."

Burr's mother played piano, and both
parents were interested in the amateur
theater. With his mother accompanying
him, Burr soon had his teddy bear act-
ing out songs on an orange-crate stage.
A teacher helped him make his first
puppet from scraps in Alice Tillstrom's
ragbag. A neighbor, Mrs. Charlotte
Polak — sister of the famed puppeteer,
Tony Sarg — gave professional advice.

Among the very first of the present
troupe to emerge was the enduring
diva, Mme. Ophelia Ooglepus. Says
Burr, "My girlfriend had worked up a
funny take-off on an opera singer, and
I had to make a character to match."

Kukla was created during the time,
in the 30s, when Burr worked with a
Chicago Park District puppet project.
He says, "Actually, he was to be a
present for a friend, but I couldn't part
with him. I sent another puppet in-
stead."

Burr tried to give the creature away
a second time when the famed ballerina,
Toumanova, closed a Chicago engage-
ment. Burr, in the throes of a school-
boy crush, had been a frequent visitor
backstage. As a farewell gift, he brought
her his dearest possession. On seeing
the serious-comic figure, Toumanova
exclaimed, "Kukla!" She explained it
was the Slavic word for "doll," or "any
precious little thing."

Kukla had his name, and again,
Burr found he could no more give him
away than he could give away the

right hand on which Kukla rested. As
Burr characterizes Kukla, "Ollie is a
dragon and Fletcher is a rabbit, but
Kukla is everyone and no one. His home
is the world."

Oliver J. Dragon made his debut at
Marshall Field's department store. Five
days a week, Burr was a sales clerk
but, on Saturdays, his mother came in
to play piano and they entertained in
the store's children's theater. Says Burr,
"Every puppet show had a dragon, but
I wanted one so gentle he would not
scare the most timid child. Hence Ollie
has a red velvet mouth, a single tooth
and calf eyes."

While working at the store, Burr dis-
covered television. "No local station
was yet on the air, but an RCA demon-
stration unit came through. I pestered
them until they let me go on camera."
Eventually, Burr and "the kids," as he
calls them, became a part of such a
unit at the New York World's Fair.

It was then that Ollie's personality
really developed, as Burr made a major
innovation in puppetry. For the first
time, a real, live, pretty girl worked in
front of the stage. He recalls, "Of
course, Ollie flirted with her. He also
did take-offs on famous visitors. In one
performance, he would be an engineer;
in another, a noted singer; in another,
a reporter or a big shot in industry.
That's when he found out he could do
anything and be anybody."

Ollie also is an authority on Dragon
lore. According to Ollie, an ancestor
swam the Hellespont and forever

quenched the Dragon's destructive
breath of flame. During what Ollie re-
fers to as "the late unpleasantness in
Boston," when it was not safe for either
witches or dragons to be about, the
family took off for the mountain fast-
ness of Dragon Retreat, Vermont.
There, his mother, Olivia Dragon, runs
Dragon Inn. Occasionally, she visits the
Kuklapolitans. Ollie's little cousin,
Doloras, who is as stagestruck as Ollie,
prefers being on the show to living in
her ancestral home.

The other Kuklapolitans were cre-
ated, or developed in character, when
Kukla, Fran And Ollie went on the air
at WBKB, Chicago, on Burr's birthday,
October 13, 1947. Chicago then had 353
TV sets, and soon every house which
sprouted a TV antenna became the
target for small fry. When the network
was built, K. F. & O. became one of the
first national shows.

The Kuklapolitans' girl friend, lovely
Fran Allison, who is also Aunt Fanny
on Don McNeill's Breakjast Club, has
not been able to make the present move
to New York with them, but she has
taped the commercials for the present
program and will visit occasionally.

Buelah Witch first made her appear-
ance in "Hansel And Gretel," during
Burr's Marshall Field days, but he
wanted no such wicked witch on the
air. Buelah reformed at Witch Normal
and became an expert on all things

electronic. She also flies a jet-pro-
pelled broom. Burr says, "And the way
she's zooming around these days, be-
devilling Mme. Ooglepus, I think it's
time she went back to Witch Normal for
a refresher course."

The featured gentlemen in the cast
are Colonel Crackie, Cecil Bill, and
Fletcher Rabbit. The Colonel, object of
Mme. Ooglepus's affection, is long on
Southern charm and short of cash.
Cecil Bill, the stagehand, sometimes
arouses Buelah's errant yearnings for
romance, but escapes them by talking
"Tooie Talk," a gobbledygook which
only Kukla can interpret. Fletcher,
the busy bunny, is the show's chief
fussbudget. His particular pal is Mrs.
Buff-Orpington, a motherly type who
assists at the Egg Plant at Eastertide.

Although the characters in Kukla
And Ollie have remained constant, the
show has changed. In the beginning, it
was an hour long. Now it has five min-
utes. Says Burr, "That's as much time
as we could clear- on the network at
five o'clock. At first, I thought I could
not develop a show in so brief a period,
but I studied the comic strips and
thought that, if a cartoonist could do
it, I could, too. Most incidents are com-
plete; a few stories are continued to
the next day. I'm getting a kick out of
it and I hope the young parents who
grew up with us, and their children
who see it now, will enjoy it as much
as we do."

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M. R. L. Means "Meet Robert Logan"

(Continued from page 28)
indeed true that the story of his dis-
covery is as remarkable as any fairy-
tale. Bob's laugh-tinged voice still
contains a note of disbelief as he recalls
the chance encounter which launched
his theatrical career. "I was sitting in
a restaurant in Westwood, about two
o'clock one morning," he recounts. "I
had dropped my girl off after a date
and stopped in for a bite to eat."
Breaking into a broad grin, he adds,
"No, I won't tell you who she is. A guy
has to keep some secrets, doesn't he?

"I was the only customer in the
place," he continues, "until another guy
walked in and sat down next to me.
Right away, he began staring at my
face. I tried to ignore him and continue
eating, but he kept staring at me until
I go so squirmy that I picked up my
hamburger and coffee and moved to
the other end of the counter. I thought
he was some kind of nut. When he
picked up and followed me, I was sure
of it — and decided to leave.

"As I started to get up, he asked
me if I was an actor. I figured the best
way to get rid of a kook was to answer
him, so I said 'No.' Of course I didn't
believe him, when he said he was an
agent and told me I had a great future
in show business. But, when he gave
me his card and told me to call him,
I took it because it gave me an excuse
to get out of there."

Bob's encounter with his discoverer
might have turned out to be no more
than a funny story to share with his
friends, if he hadn't mentioned it to
his mother the next day. Although he
was sure the whole thing was a phony,
she wasn't quite so positive and she
convinced him to phone the agent. He
gave in, after several days urging.

"Next thing I knew, I had an ap-

pointment at the studio and was sign-
ing a contract," Bob recalls in wonder.
"The whole thing happened so fast, I
couldn't believe it. I told them they
must be making a mistake. I kept say-
ing I knew nothing about acting, but
they didn't seem worried." His infec-
tious laugh echoes through the room,
as he adds, "I guess they know what
they're doing."

Though his mother had a hand in
the destiny which put him before the
camera, Bob admits that his father is
somewhat less pleased. The elder
Logan, a bank executive, had hoped
his son would study law.

But what the career switch actually
interrupted was a potential future as
a professional baseball player. Bob had
won an athletic scholarship to the Uni-
versity of Arizona, and his proficiency
had brought him to the attention of
the major league scouts.

Indeed, athletics have always been
Bob's first love. A native of Brooklyn
who moved to California at the age
of eight, Bob has always excelled at
sports. He was the star pitcher for his
high-school team in Gardena, Califor-
nia, and also performed on the track
and basketball teams. He learned to
water-ski during the summers the
Logan family spent at their summer
home at Lake Arrowhead, in the near-
by San Bernardino Mountains, and soon
began giving lessons in the sport.

Recently, Bob moved into bachelor
quarters at Malibu Beach and has dis-
covered a new love — surfing. His idea
of a perfect vacation now is to round
up a few buddies, throw their sleeping
bags and surfboards on top of his car,
and head into Mexico for a few days
of surfing. "Is it a dangerous sport?"
he echoes. "Sure. I could get beaned
with the board, if I fall off. But, so

A natural athlete, Robert Logan enjoys backyard golf practice.

far, I've been lucky. I've just got a
few scrapes from hitting the rocks."

When he isn't talking about sports,
Bob dreams of the day he can own his
own schooner. "I'm nuts about boat-
ing," he admits. "As soon as I can af-
ford it — maybe in a couple of years —
I'm going to buy a forty -eight-foot
sloop and live aboard. That's really
living!"

Studio officials, understandably,
might not share Bob's enthusiasm for
these limb-risking endeavors. For not
only does he spend every spare min-
ute off the set participating, but he
has everybody on the set talking sports.
Where lunchtime at the commissary
was once devoted to a shop talk about
movies and TV, the showfolk at War-
ners now talk only of surfing and boat-
ing when Bob is around. And he is
responsible for a whole new crop of
sore and strained muscles among the
co-workers he lures into Softball games
between scenes.

Don't be surprised, either, if the
vigorous young athlete's water sports
creep into future scripts of the series.
You may see the detective firm solve
some of its capers near the water,
where "J.R." can display his skill as
a surfer. And it wouldn't amaze his
friends if Bob convinces the director
to have the suave Efrem Zimbalist
chase his quarry from atop a surfboard.

Even though he is the gregarious
type, Bob admits he found it difficult
to make the transition into a strange
new world. "I was quite mixed up at
first," he confesses. "I didn't really like
show business when I started, because
some of the people I met weren't like
the friends I had known. I'd been used
to being accepted for myself, then I
met people who looked at me with dis-
trust— actors saying to themselves,
Here comes competition. It took me a
while to realize how many nice peo-
ple there are in the business and to
make friends with some of the great
guys I've met on the lot.

"I frequently got discouraged about
the whole thing, and once was even
ready to quit. If it hadn't been for the
persistence of my acting coach, Paton
Price, I would have. But he encouraged
me when I was the lowest — and believe
me, I needed that encouragement. Now
I feel much better about everything."

If you should be passing Warner
Bros, in Burbank and hear someone
say "R.L.W.W.T.T.F.," don't think it's
a secret spy code. It will just be some-
one picking up the vernacular of the
studio's brightest new ascending star
— an effervescent, good-looking guy
whose sparkling personality should
make him fans as fast as he's made
friends. Translated, the letters mean:
"Robert Logan Will Wow Them This
Fall."

A Top Comedy Writer Talks About His Craft

(Continued from page 16)
successes with Jack Carson and Martha
Raye, he created the ''Sergeant Bilko"
character which Phil Silvers played so
successfully for four years, and which
is still high in popularity as a re-run
series.

Hiken's newest offering is the week-
ly NBC-TV comedy series called Car
54, Where Are You? Not only does
Hiken serve as writer, but he is also
producer, director and one hundred
percent owner.

"Certainly, I have high hopes for its
success," said chain-smoking Hiken
shortly before the series' debut. "Other-
wise, I'd be wasting my time. I'm put-
ting all of my experience behind it. I've
learned the hard way, so I'm trying to
avoid the mistakes most new writers
encounter.

"And that brings us back to the
future, and why I'm discouraged about
what it has to offer to television com-
edy. Let me explain: To begin with,
there's nothing funny about writing
comedy. It's a rough, tough job. Some-
one once said that all comedy is born
from pain. I believe it. As you know,
there's a thin dividing line between
laughter and pathos.

"In the old days, radio stations in
every town and city put on their own
little shows. Someone would write
them, perhaps for no pay, and someone
else would be the station's funny man.
As they developed and gained expe-
rience, the more talented ones would
move on to larger stations and the net-
works. They had a training ground, you
see.

"That doesn't hold true in television.
Today, a comedy writer has to go to the
big leagues immediately. There aren't
any minors. Local TV stations can't af-
ford to produce their own programs, to
be shown at the same time as a com-
peting station's network show. Mean-
while, a network program can't afford
to hire a new writer at union scale —
say $750 a week. As a result, there just
aren't any new writers. None. And,
under these conditions, there won't be
any.

"You can't tell a new writer what
will work and what won't work. It's im-
possible. Even if you tried, he wouldn't
believe you. All writers are egotists.
They have to be. A comedy writer must
believe that he's the best there is,
otherwise he won't succeed. If you stop
to say to yourself, How dare you put
words in this man's mouth? — you'll
fail. You must have the supreme con-
fidence.

"All of which means that a new
writer must learn his craft by failure,
by suffering, by hearing an audience
not laugh at what he considers his best
line. He learns by sitting there and
watching his creation die. And there's

no place to do that today. There's no
place to fail.

"I'll tell you this from experience:
When a writer sees one of his creations
bomb, it's like having a cold-water hose
trained on him, and I guarantee he
won't make the same mistake again.
The only way you can learn to write
comedy is to write comedy. And when
a flop thuds you in the stomach — well,
that's the best experience you can get.

"What's the answer? I don't know. I
do know — but I don't see how it will
ever be accomplished. The answer is
for local television stations to follow
the old example of local radio stations
and produce a few of their own shows,
with their own set designers, writers
and performers.

"Certainly, in many cases the quality
would be poor. Some of the programs
would be downright dreadful. But
that's the only way newcomers will be
able to learn. And, in this era of com-
mercialism, where are you going to find
a local station willing to produce its
own show in opposition to a big-money
network program? Furthermore, who's
going to watch the locally-produced
show? Don't tell me. I don't want to
hear."

Hiken believes that, in other respects,
television is following the course of
radio. "In the early days of radio, there
was a freshness of programing. Comedi-
ans were the rage. And then the comics
discovered that they needed to work in
front of people. Eddie Cantor was the
first to introduce a studio audience, and
the others followed.

"As the radio comedy shows began
to wear out material, quiz programs
took over. The same thing happened to
television, but with one big difference:
Stand-up comedians, with their one-
line jokes, were big on radio. But not
on television. People watching a TV
program want to see something.

"Jokes, as presented by stand-up
comics, have never been accepted on
television. Danny Thomas, one of the
greatest, flopped on TV as a fast-gag
comic — so he discarded that format and
became a huge success in situation
comedy. Milton Berle also recognized
that jokes alone wouldn't go over on
TV, so he introduced sketches and ac-
tion on his programs.

"As a result, television is killing
talent. Good sketches require good
writers. And, as I've said, there's a
scarcity. In the days of vaudeville,
a top comedian could tour the leading
theaters for twenty years with the
same act and, in all that time, never
reach a fraction of the audience that
he'd face in one appearance on a net-
work variety show. And, after that one
appearance, the material he used is
gone. He can't use it again.

"Television uses up talent at an

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alarming rate, and I really don't know
what can be done about it.

"I keep hearing that comedy is dy-
ing. Perhaps it is, I don't know. But
I do know that I can't see an upsurge
of comedy, as we used to know it.
There's no new material coming up.
I'm speaking in terms of comedy writ-
ers. As for the comedians themselves,
there is some sign of encouragement.
The so-called 'sick' comics are only
trying to approach the humor of Fred
Allen and Will Rogers. This is healthy.

"The term 'sick comic' is over em-
phasized. Mort Sahl isn't sick, never
has been. He's using topical material,
that's all. Bob Hope has never stopped
using this type of material. That's one
big reason he's remained a success
through the years. And I'm very pleased
by the acceptance given the new Negro
comic, Dick Gregory, who jokes about
civil rights and such things. To me,
this is a big break-through for humor."

Hiken is violently opposed to canned
laugher on TV comedy programs. "This
push-button laughter is more of a
detriment to comedy writers than it is
to viewers. Writers don't have to try
and write funny anymore. Buttons are
pushed, and up come belly laughs.
Most writers are lazy. I know I am.
With canned laughter, there's a ten-
dency to lie down a little. A writer
says to himself, Oh, well, if it isn't
funny, they'll put a laugh in here, any-
way.

"Laughter is a wonderful thing. But
only when it's legitimate. Several
years ago, Phil Silvers and I teamed
up to produce an original musical-
comedy special on CBS-TV. It was
called 'The Ballad of Louie the Louse,'
and we both thought it was the best
thing we'd ever done. It was a disaster.

"Why? Because it was presented
without an audience. In the studio, I
mean. And when it came over the TV
screen, it looked dead. Yes, laughter is
important. But only when it's real.
Canned laughter, or phony laughter,
can easily be spotted and I believe the
home viewer resents it." (That, of
course, is why Car 54, Where Are You?
is being screened in front of a live
audience whose laughter is recorded
for the sound track.)

In 1936, when Hiken was graduated
as a journalism major from the Uni-
versity of Wisconsin, he headed West
because, as he explains it, "Hollywood
was the biggest of all news centers in
those days." He had an idea to write
a column called "Wisconsin in Holly-
wood," dealing with former residents
active in the motion picture industry,
to be syndicated to small-town news-
papers throughout the state.

"The idea was good," he recalls, "but
it didn't pay off. The Depression was
just leveling off, and newspapers were
trading subscriptions for eggs. The
papers thought they were doing Holly-

wood a favor by printing the column
and, at the time, Hollywood didn't
care about small-town America. I was
caught in between, with no money
coming in."

Hiken took a job at fifteen dollars a
week in a wholesale market warehouse
("My job consisted of telling people
where the boss was") — and teamed up
with Jack Lescoulie for a daily pro-
gram called The Grouch Club on a
small Los Angeles radio station. "Jack
and I each received five dollars a week
for the show. I wrote it, and Jack was
the air personality. It was a morning
program. The competing shows were
all of the 'wake up and smile' variety,
so we offered something different, and
it went over pretty well. Eventually it
was even picked up by a network."

Hiken joined Fred Allen as a comedy
writer in 1940 and worked for him for
seven years, aside from a two-year
interruption for an Army stint during
World War II. In 1948, he created a
successful radio show for Milton Berle,
and later repeated the process for
Monty Woolley. "The Woolley pro-
gram was developed in the early 1950s,
when television was coming into its
own, and radio was nothing. Even peo-
ple who didn't have TV sets weren't
listening to radio."

When he made the big switch to TV,
Hiken was employed for three years as
a writer for series starring Jack Car-
son and Martha Raye. "I loved working
with Martha — she's a genius. Only one
Martha Raye comes along in a century."
Then, in 1954, Hiken was hired by
CBS-TV and told to "try and think of
something for Phil Silvers."

"My first idea," he recalls, "was to
cast Phil as a big-time operator in the
Army, but nothing came of it right
away. Phil and I met every day for
three or four months to discuss possi-
ble formats. Finally, we took our ideas
to the CBS brass and, after explaining
them, we were told, 'Do the Army
thing.' That's how 'Sergeant Bilko' was
born.

"Although we stopped filming the
Bilko series two years ago, it's still
going great-guns on a re-run basis.
Why, in England, it's being telecast
three times a week. I can't explain the
success of the 'Bilko' show, unless it's
because we gave it the 'negative' ap-
proach. Nothing like it had been done.

"If a writer follows the success pat-
tern of other programs, he's dead. Of
course, with new ideas, you'll come up
with a blooper once in a while. You run
the risk of a sponsor telling you, 'I
told you we should have had girls.' But
the challenge is worthwhile.

"We're following a 'negative' ap-
proach in the new series. The fact that
the two principals are cops is inciden-
tal. It'll be about their relationship with
their families and the other cops in

their precinct." The two squad-car
men are portrayed by Joe E. Ross,
gravel-voiced mess sergeant of the Bil-
ko series, and Fred Gwynne, who also
appeared from time to time on that
program and has been a Broadway
success in "Irma La Douce."

Hiken met his wife, Ambur, when
she was a secretary to writers at the
MGM studios in Hollywood. They live
in New York City with their two

daughters, Dana, 15, and Mia, 13. His
hobbies include building boats — "I'd
rather do that than anything" — playing
golf, and "spectating" such sports as
baseball.

He admits that, when he's busy with
his own activities, he seldom watches
television. "I don't see anything so sur-
prising in that. I don't imagine that,
when a plumber goes home at night,
he sits around playing with pipes!"

America's Newest Waker-Upper

(Continued from page 41)
Chancellor tells TV Radio Mirror, "but
I have to admit I'm a bit overwhelmed
and a little more than gratified by the
response I've had from viewers. There
has been so much fan mail, I haven't
been able to count it, much less keep
up with it. I come in every day and
there it is, piled on my desk, and I find
myself sitting and staring at it.

"Most of it is pretty intelligent and
all of it is extra friendly," he continues.
"The average letter says something
like: 'Well, we're sorry Garroway had
to go, but good luck to you, young man.
We like you and the way you're doing
things.' The truth is, we're not trying
to run a cult of personality here for
either Garroway or me. He didn't ex-
pect it or want it, I'm sure, and neither
do I. But, in addition to all of the nice
mail I get, I'm sure he has a whole
warehouse full of letters from people
telling him they're sorry he left."

Chancellor shakes his head in amaze-
ment, as he says, "You know, I'm still
a freshman at this sort of thing — people
writing letters, stopping you on the
street, recognizing you as you walk by,
even asking for autographs. It's all
pretty wonderful. It's a side of the
business I've never known, and it's
taking me time to adjust to it."

Chancellor's handsome face should
not, of course, be strange to audiences.
In the process of covering floods, fires,
murders, racial clashes and political
campaigns at home — in the course of
chronicling major events of world pol-
itics in all the capitals of Europe,
including a year in Moscow — he prob-
ably has been seen by more viewers
than some of the established celebrities
with weekly TV shows. But, in the
realm of news, the viewer has a ten-
dency to take the newscaster for grant-
ed— to see him and yet not see him.

As a result, when Chancellor filled in
for Garroway on a sort of trial run
for one week back in June, he hardly
caused more than a ripple. However,
once he officially took over the mantle,
with appropriate fanfare by NBC, all
that changed.

The secretaries at NBC give him a
broader smile. The makeup men (he
had never had need of one before) give

him special attention. The technicians
and the production people are more
solicitous. When he goes out to a
restaurant, there are nods and smiles
of recognition.

As is the case with Garroway, Chan-
cellor is a product of Chicago, but there
the similarity ends — unless you want
to count the fact that both wear glasses.
While Garroway won his television
spurs in the show-business side of the
medium, Chancellor started as a news-
man, progressed as a newsman, and
plans to go back to hard news if and
when his stint on Today runs its course.

But he cannot deny that the transi-
tion from straight news coverage to the
host spot on Today presented more of
a wrench than any of the dramatic
and swift moves that were required of
him when he was flitting from city
to city in this country and jumping
around from capital to capital in Eu-
rope, buttonholing presidents, premiers
and dictators.

"Actually," he points out, "this is
the first time I'm living in New York
for more than a week. So, in addition
to doing a new kind of show, I'm get-
ting my first real taste of this city and
all of the wonders that it contains.
I've always considered jazz, baseball,
contemporary art and animal study to
be my hobbies. But, right now, there's
but one hobby — and that's learning
about New York."

During the early weeks of his new
assignment, Chancellor and his fam-
ily— wife Barbara; Laura, who was
born two-and-a-half years ago in
Vienna; and year-old Barnaby, born in
London — had to make do in a tempo-
rary apartment in Manhattan.

John had planned to go apartment-
hunting with his wife on the weekend
following his first week on Today, but:
"After that week, I begged off. What a
week! I've long been used to working
long hours and getting little sleep,
but I've got to admit that that first
week was one for the books. Up at
around 3:30 in the morning and in the
studio by five. The show, as you know,
runs from seven to nine (Eastern
time) — but it was late afternoon be-
fore I was able to get out of the office.

"In addition, it was during that first

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week that we covered two space shoots
— the one that didn't come off but
which kept us on the air until eleven,
and the one that did come off and
which again kept us in the studio until
eleven. Well, with all this and things
to plan in the afternoon for the next
day's show, plus conferences and meet-
ings and trying to answer some mail,
it was quite a baptism."

Since then the Chancellors have set-
tled into a spacious new apartment,
and John has settled down to some-
thing resembling a routine, though he
still is unable to get much more than
six hours of sleep a night. "You tell
yourself you're going to bed early, but
you're lucky if you hit the sack much
before eleven, and you certainly have
to be up no later than four a.m.

"But I'm really enjoying it. It's ex-
citing, it's stimulating, and the people
— both on the show and those watch-
ing— have been nothing less than won-
derful. I know this much for sure: I
feel a lot better now than I did after
that first week. I'm less uncertain of
myself, and I know the people who run
the show a lot better. My respect for
them has increased tremendously.

"I'm also learning a whole new vo-
cabulary— about ratings and all the
inside language that goes on while a

show is being prepared and while it's
on the air. When the rating reports
come in, I feel like the managing editor
of a newspaper must feel when he asks
how the newsstand sale is going."

Packed into Chancellor's thirty -four
years is a multitude of experiences that
would do justice by a man twice his
age. Before landing as a general-
assignment reporter on the Chicago
Sun-Times in 1948, he had served as
a second mate on a riverboat, a steve-
dore, a chemist in a paper plant, an
usher and a hospital orderly — mean-
while getting in three years of study
at the University of Illinois and a hitch
in the Army.

An economy wave cost him his Chi-
cago newspaper job in 1950, and it was
while he was waiting for another news-
paper spot to come along that he was
taken on, by NBC in Chicago, as a
"summer replacement" news writer.

It has been a mighty long "summer"
— filled with sunshine, drama, excite-
ment, brushes with death, and inter-
views with world leaders. By compari-
son, the Today role might seem tame.
But show business is never really
tame. And, call it what he may, John
Chancellor is up to his neck in it, even
if his nose still points in the direction
of news.

Steve Allen's Return

{Continued from page 34)
talent," including gag writers — is a
fertile source of jokes and rib-tickling
situations. He is never without a pencil
and notebook into which he faithfully
jots his impressions and ideas, not
merely for the show, but for poems,
songs and books. "You can pick ideas
out of the air if you look for them," he
laughs.

"One day I was crossing the Sepul-
veda freeway. There had been an acci-
dent up ahead and, along with the other
drivers, I was held up about twenty
minutes. In Southern California, we
have what is known as Radio Sigalert,
whereby announcers cut into programs
to give brief traffic bulletins. While
waiting for them to clear the freeway,
and listening to these bulletins on my
car radio, I slapped together a seven -
minute take-off on these traffic bul-
letins: 'Traffic on Sepulveda is all
fouled up, only moderately crowded . . .
traffic is back to normal, heavily con-
gested . . .'"

"I got another idea, watching a bois-
terous crowd of fans waiting for Mari-
lyn Monroe to emerge from a hospital.
This developed into a skit about an
actress who is leaving a hospital and is
forced back with a nervous breakdown
after being manhandled by her frantic
fans. After some study of the subject,
I've come to the conclusion that most

comedy is based on bad news. This in-
cludes tragic mishaps, as well as moth-
er-in-law gags. The mind of the true
comedian can conceive of turning any-
thing, no matter how horrible, into a
joke. It's a trend that started ages ago.
I guess the ability to laugh at trouble or
danger is part of the equipment for
human survival."

Steve's best-selling autobiography,
"Mark It and Strike It"— a truly self-
written, fascinating account of his fam-
ily, upbringing and rise in show busi-
ness— shows that he is a man with a
tender social conscience and a keen
awareness of great public issues of the
day. "I have tried," he says with a
touch of plaintiveness, "to separate my
humor and personal convictions. If it
doesn't always come out that way, it's
not because I want to mix up the two.
I do happen to like satire, and social
comment does enter into satiric comedy.

"But I'm no Mort Sahl and I don't try
to be. I can't see why any comedian
should waste his time copying others in
the field. Out of three billion people on
earth, there are only about fifty pro-
fessional comedians. Certainly that
leaves plenty of room for originality.
In what other field is there that much
elbow room for developing your own
style, material and devices?"

While Steve defends the controversial
"ratings system," he claims no credit is

given for a job well done. In TV,
you've got to be top dog or you're out
of the running." There are few per-
formers who have braved the wrath of
sponsors, agencies and pressure groups
as often as Steve Allen. Somewhat rue-
fully, he says, "Any star takes a big
risk when he airs an opinion or belief,
especially when the public is divided on
the subject. But I don't mind that risk.
Performers are not second-class citi-
zens. If the man on the street feels free
to unburden himself of views on every
subject from baseball to space travel,
so should people of the theater.

"I love my country, I love my fellow
man. When I see affairs taking a dan-
gerous path, I can't help speaking out.
That's not just my right. It's my moral
obligation. When I joined SANE (Na-
tional Committee for a Sane Nuclear
Policy), some people called me a crank,
an impractical dreamer, a fool. But like
many others in show business — stars
like Robert Ryan, Tony Curtis, Janet
Leigh, Jack Lemmon, Shirley MacLaine
and my wife Jayne Meadows — I felt a
moral duty to stand up and be counted
among those who are for peace and the
abolition of weapons that could destroy
the world."

There is still another side to the
world of Steve Allen: His family. Dur-
ing his recent absence from television,
he was able to devote himself more
fully to Jayne and the four children —
Steve Jr., 17; Brian, 14; David, 11; and
Billy, 4 — with the result that he was
inspired to do steady creative work. He
produced the 432-page autobiography,
a number of articles on public affairs, a
respectable amount of poetry, songs and
paintings.

Show business was not neglected, by
any means. He did an engagement at
The Flamingo in Las Vegas with Jayne
and his mother. "I'm sure 'most every-
one knows that my mother and dad
were the grand old vaudevillians, Belle
Montrose and Billy Allen. Mother is
one of the funniest women ever to grace

the American stage. I expect to use her
from time to time in my new TV show,"
Steve adds.

About his stunning bronze-haired
wife, Steve grows rhapsodic. "I don't
mean to give the impression that Jayne's
just a safe refuge to which I creep
when battered by a cruel world. She's
far more than that to me. And, since
there is no such thing as perfection in
humans, it follows that she is not per-
fect. But, to me, she closely approaches
it."

With characteristic candor, he goes
on to point out that "Jayne should have
been the wife of a brilliant writer or
scientist, or even of a president. She
has the authentic power of a superior
woman to lift a man's sights, put fire in
his veins and widen his horizons. If I
should die, Jayne could make a far
more important contribution to the
world than being the wife of an am-
bitious comedian. Any man of talent
who had -the good luck to win Jayne's
love would find his talents growing in
her presence. He would feel compelled
to give the best of himself. . ."

In addition to the television show
and bringing up the children, the Al-
iens plan to stay in New York in
February. They will then bring their
night-club act, which features Steve's
mother, to the boards. Jayne seems set
to return to her panel shows and guest
appearances on TV. She also is consid-
ering some film roles. "It's surprising
how many people forget Jayne is an
accomplished actress who made her
mark in films before going on TV,"
Steve smiles.

No story about Steve Allen could find
a better ending than the following few
lines culled from his poems:

"And one point more remains to
make: That, like the other faculties,
the physical, the musical, the social, and
the rest, Love swells in action. . . .
Love's a magic force that knows no
laws, a well without a bottom, a purse
that's never empty. . . ."

JUST PUBLISHED!

An Autobiography

STEVE ALLEN'S
Mark It and Strike It

The real man behind the funnyman

Steve Allen unwraps the zany, star-studded
world of show biz and unfolds the true, no-
punches-pulled story of his rise to the top.

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Juvenile Delinquency vs. TV

(Continued from page 36)
perfect choice for WNBC-TV midday
and late-night programs on which, for
several years now, she has discussed
varied psychological problems. (Start-
ing this fall, Dr. Joyce Brothers' TV
programs are being syndicated all over
the country and will be seen by mil-
lions in more than a hundred cities.)

Because many adult problems have
their beginnings in childhood — and be-
cause Dr. Brothers has an eight-year-
old daughter of her own and, therefore,
has more than an academic interest in
the psychology of children — we went
to her for the answers to questions
many mothers are asking. Here are both
questions and answers, beginning with
the problems of teenagers:

Is there any evidence that television
triggers teen-age crime?

"Because I am a parent — and because
of the universal interest in the impact
of television on young people — I have
been studying much of the research and
studies on the subject. Probably the
most ambitious study was done by Him-
melweis in England. But that study,
too, was inconclusive. No one can make
a definite statement at this time as to
the actual effect of TV on youthful be-
havior. Anything that is said is purely
a matter of personal opinion and has no
scientific support, as yet.

"You would have to be able to hold
a number of factors constant to evalu-
ate TV — movies, comic books, news-
papers, magazines, schools, parents, en-
vironment. The long-range effects of all
of these would have to be weighed. My
own network, NBC, has offered to join
in underwriting the cost of an im-
partial research project which would
require a period of three to five years.
This unselfish gesture would be a tre-
mendous step forward in enlightening
us on a vital matter that now is hardly
understood.

"From my own training and experi-
ence, I know that when children be-
come teenagers, their habits are
well-set. Their behavior is not easily
changed. They have picked up ideas
and impressions from parents, early
friends, teachers, and their associations
in the community. Generally, boys and
girls of teen age bring a tremendous
amount to the TV set. If they have had
years of proper training at home and
know the difference between right and
wrong, they won't be unduly influenced
by a TV show designed merely to en-
tertain. If they are already disturbed,
they might be triggered by anything at
all — a remark by a neighbor, or an
actual crime story in a newspaper. We
had juvenile crime long before TV.
Countries without TV are plagued by
it. We are not in a position to take any
one influence and say, 'This is the
cause.'

"TV, by virtue of its availability, has
now become a scapegoat. If a child
doesn't study, it is easier for a mother
to blame television than to admit it
could be her fault — through failure to
provide a quiet study corner — or be-
cause of family friction, or a breakdown
in family discipline."

How can a mother form good TV
viewing habits early in her children's
lives?

"She can help by watching with them
whenever possible, pointing out what is
good and what is not and explaining
why. I don't think 'total censorship' is
the answer. Every child needs reason-
able exposure to many things, and tele-
vision is no exception. No child can be
protected from everything adverse. Al-
most-immunizing doses that children
take in a parent's presence, coupled
with the parent's interpretation, keep
the experience from being overwhelm-
ing. In this way, the parent is laying a
good groundwork for young people to
make their own judgments later on."

Do children work off some of their
own violent moods by watching shows
that portray violence?

"Many people are confused by the
meaning of the word 'violence.' There
is 'violence' — and 'action' — and 'com-
petition.' All through the ages, people
have been motivated by a certain
amount of what we can classify as the
competitive urge: The desire to tri-
umph! Emotions and actions with
which they can identify. Children need
some means of acting out their own
fantasies and their own fears. They feel
small in relation to their parents. This
is why a story like 'Jack, the Giant
Killer' in which a small boy is able to
stand up to a giant, is a favorite. Jack
is symbolic of their own fantasies.

"It can be beneficial to youngsters,
safe in their own homes with their own
families, to see some of their fears and
worries acted out on the television
screen. But action that comes too close
to home can be very disturbing. If a
child sees a child like himself being
mistreated, this can be extremely up-
setting. The action in a Western does
not affect him in the same way. There,
generally, we have a simple story of
good pitted against evil, and the child
is taught that good will triumph over
evil."

Must a parent monitor everything
children watch?

"A mother should have an awareness
of the kinds of programs her children
watch. This does not mean that she has
to drop her duties and sit in front of
the set whenever a child does. But a
parent's presence, and a little timely
explanation, can keep TV viewing reg-
ulated and beneficial. A mother knows
and understands her child. She knows

the level of the child's acceptance. It is
her responsibility to see that he does
not watch things that are too mature
or too advanced for him.

'"Children do not innately have good
taste. Taste is something that is taught
them. In the Himmelweis study to
which I referred earlier, it was found
that, if a child had two channels to
watch, he would go for the one with
violence and crime. It is a parent's
responsibility to monitor what chil-
dren view and to see that they don't
watch programs they shouldn't."

Must a mother restrict her own day-
time viewing to what children should
see?

"Children are not necessarily inter-
ested in the programs you think they
are. For instance, my own shows have
no meaning for youngsters. My small
daughter does not watch them — there's
no action. The mother who likes to
watch daytime serials does not have to
turn off the set if the children join her.
There are situations that may be a very
good springboard for questions and ex-
planations. If the youngsters ask ques-
tions about what is going on in the
story, this is the time to answer truth-
fully and try to make them under-
stand, to the extent of their individual
ability."

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Should TV be used to keep children
quiet and out of the mother's way?

"Many mothers use TV as baby-
sitters. This is not what it is meant for.
I have even seen a parent use it to
keep a child diverted while she forced
food into its mouth. TV should be en-
tertaining and educational. It should
benefit the child — not rid a mother of
her responsibility to be with her chil-
dren."

Do you think this season's programs
for children are better than in previous
years? Do you think the whole level of
young people's programs is better now?

"There are many fine, imaginative
and educational programs created for
youngsters. I think there always have
been. NBC, this year, is adding at least
two outstanding news-type shows. One
for children from 6 to 11, and another
for teenagers. Parents who fail to steer
their youngsters to programs of this
type are being unfair to their children
and the community."

Do you feel there are certain hours
when certain programs should not be
shown?

"I believe that adults are entitled to
programs of adult interest and it's a
mother's responsibility to see that the
children are occupied otherwise at these
times. I believe that TV is aware that
good taste is also its responsibility.
On my own show, if a question is in a
sensitive area, I will re-write my an-
swer seven or eight times before using
it on the air."

Summing up: Is it your opinion that
TV has an adverse influence on chil-
dren? Does it contribute to juvenile
delinquency?

"I don't know — nobody really knows,
at this moment. Nobody has as yet
made a definite study, such as NBC
suggests. I feel that the answer may
lie in the adult and sensible balance
and control of TV viewing and in the
time-slotting of programs. While TV is
aware of its responsibilities, a mother
cannot abdicate her responsibility of
seeing that her children develop good
taste and judgment so that, as they
grow older, they automatically reject
unsuitable programs.

"Neither can a mother permit Johnny
and Judy, down the block, to establish
what is good viewing for her children —
anymore than she would abide by an-
other family's rules concerning how
much candy should be consumed, or
what bedtime hour should prevail.
When your child says, 'Johnny's allowed
to watch that show, why can't I?' — one
of the ways to stop him short is to spot-
check. Call Johnny's mother and ask.
You may find that Johnny is using the
same argument on her. Youngsters tend
to play one set of parents against an-
other. The mothers in a neighborhood
or community could get together and
decide what all their offspring should
be allowed to see."

Dr. Brothers' own little girl, Lisa —
eight, last July — is in the fourth grade
of a school for children who are ad-
vanced beyond their years. Her class
was asked to write essays on famous
people, each child making her own
choice. Lisa chose Socrates, and her
essay was a comment on the danger of
giving advice. She wrote: "Socrates
was a very wise man. He gave advice
to everyone. He was poisoned."

However, Dr. Joyce Brothers seems
to be in no danger herself, judging from
the common-sense advice she gives on
her TV programs as a registered psy-
chologist. And, beginning this fall, what
she calls "a capsule classroom in basic
psychology" may be added to some of
her shows. This would be a college-
credit course — in itself, a brand-new
idea in middle-of-the-day program-
ming. Mothers not only may benefit
from her words of wisdom printed here,
but may learn the basic psychology that
will help them in many of the problems
of building their children into good
citizens.

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What's New on the East Coast

season as a married man — and his
wife will be played by June Blair,
his real-life bride. . . . Bob Hope and
Bing Crosby hope to make a TV spe-
cial out of their best scenes from all
of their "Road" movies.

By George: Route 66 co-star George
Maharis raced through New York
complaining about his private life.
"No privacy. We were working in
Youngstown, Ohio, and, since that's
where I was supposed to be, I drove
down to Cleveland to relax for the
weekend. I caught hell from a news-
paper columnist when I insisted it
wasn't me and he discovered later that
it was." George further notes his very
young fans keep him on edge with un-
usual gifts — pizzas, bongo drums,
doughnuts, a stew cooked by a seven-
year-old, and a package marked
"From the Mad Bomber." Also, he
says, "I can't date while I'm traveling.
It's dangerous, because you never
know whether a strange girl is out to
make trouble." He still has a soft
spot for actress Inger Stevens. "I see
her whenever I can. She's the kind
who gives you the feeling that she
really needs you."

$$$$ & Horses: In Jack Lescou-
lie's return to the video scene October
8, via NBC, on a children's program,

(Continued from page 5)

he plays uncle to a ten-year-old actor,
Richard Thomas, in 1, 2, 3 — Go!, a
travel series for the small fry. . . .
Garry Moore has already figured out
a way to beat mid-winter doldrums.
He has taped a half-dozen shows in
advance, so the cast will be able to
take a week's vacation every month.
. . . Maverick promises laughs in a
new episode, "Three Brothers for
Three Brides," a parody on Bonanza.
Jim Backus is fingered to draw the
laughs as Joe "Wheelright." . . . The
new cartoon series, Top Cat, calls one
of its episodes "The Unscratchables."
. . . Bob Cummings, now 51, takes off
this month into the wild blue yonder,
via CBS -TV, in his new show. Assist-
ing him will be comedian Murvyn
Vye and Luscious Lionel. Lionel is for
real and a male, a former pro wres-
tler who plays Bob's bodyguard. . . .
Efrem Zimbalist Jr. turns up this
season as a cowboy in Cheyenne — and
Shelley Berman, yet, climbs a horse in
Rawhide. . . . NBC at work on a per-
sonal hour-long study of Billy

Graham for The World Of series.

. . . The everlasting talk about an
impending divorce for Keely Smith
and Louis Prima is at least good for
business. They keep packing in
audiences.

Home Stretch: John Ashley, co-
star of the new ABC-TV series,
Straightaway, made a call to say,
"The series is mostly about auto rac-
ing, but I'll be doing a lot of singing —
which is great for me. Out of the first
eleven shows, I sing in eight. I started
as a rock 'n' roll singer for Dot, but
now I'm going into rhythm-and-
blues." A bachelor, he lives alone but
doesn't live a lonely life. "I usually
date Connie Stevens, Sherry Jackson
and Dodie Stevens. Yeah, Dodie Stev-
ens has grown up." . . . Jack E.
Leonard patiently waiting for Red
Skelton to go ahead with his plans to
star the "fat boy" in a comedy series.
. . . Comedian Don Rickles feeding
laugh lines to Kay Starr. . . . The
financial success of producers Good-
son and Todman (What's My Line?,
Price Is Right, etc. ) is easily reckoned.
They now own newspapers in Ches-
ter, Pennsylvania; Pawtucket, Rhode
Island; and in Elizabeth and Trenton,
New Jersey. Danny Thomas says this
is absolutely his last season. Rod
Serling has also had it. . . . Dwayne
Hickman will give TV two more years.
By that time, he will have banked an
even million bucks. "I'm not a good
actor," he says modestly, "but I can't
resist the big paycheck."

What's New on the West Coast

boulder, and then quietly crawl
toward the edge, keep watch on Dick
Boone and Joan Elan as they passed
on horseback, and then leap down at
the girl. So well was this done that the
animal got a round of applause from
the crew and a biscuit from Dick as a
reward. Trainer Jack Weatherwax
used two dogs, both German shepherds
darkened to resemble wolf dogs. While
four-year-old "King" does the actual
acting, director Andrew McLaglen de-
cided his canine star needed a stunt-
dog, so seven-year-old "Rocco" was
mustered in to do the leaping. In the
segment, Boone does an authentic
Greek dance with Israeli star, Chana
Eden. Boone, who studied ballet in
New York before turning actor, pointed
to the dog and snorted, "For him they
hire a stunt-dog, but me they tell, 'Do
it yourself, Dick.' What do they mean
'it's a dog's life'? It's a dog's world."
The Whosie & Whatsie: A pro-
ducer friend asked Joanna Barnes, the
"mantrap" in "The Parent Trap," what
v she thought of doing a musical version
„ of "Medea." Joanna replied, "Great
idea, but it's already been done . . .
they called it 'Gypsy.' "... June

(Continued from page 7)

Blair caught the trapeze bug from
hubby David Nelson, is currently
spending an hour a day practicing
aerial flying. . . . Frankie Laine knows
an actor so vain that he took along his
own make-up and lighting man when
he went to have a passport picture
taken. Frankie will be doing more and
more TV guestings and less night-club
work. "I want to stay home with Nan
and our girls," he explains. "Besides,
we've all taken up marlin fishing off
Catalina and that's practically a full-
time career!" . . . Aaron Spelling and
wife Carolyn Jones are writing a novel
based on the exploits of his 86-year-
old Russian-born mother, who escaped
during the Revolution. He plans to film
biography, with Carolyn starring. . . .
A "Batch" of Grub: Two of tele-
vision's culinary artistes are Bill "Bub"
Frawley, of My Three Sons, and Paul
"Wishbone" Brinegar, of Rawhide. In
real life, both of these "boys" are bach-
elors and do most of their home cook-
ing by way of ye olde can opener.
Polled recently by a curious fan on
their cooking secrets, both gave, oddly
enough, the same answer in almost
identical words. "My advice for a good

meal is to eat out!" That's a recipe?
The Wheat and the Chaff: For

some quirk of fortune, Bing Crosby has
been one of the stars who seem to
attract rumors like a cookout does flies.
At least three times a year while he
was under contract at Paramount,
studio flacks were all routed out of
their beds to check on rumors that Bing
was dead, accidentally shot, lost in the
high Sierras, etc. Of late it is Bob Den-
ver, TV's Maynard, who has been run-
ning the rumor mill. In the space of
three weeks, he was variously reported
shot in New Orleans, electrocuted in St.
Louis and critically hurt in a traffic
pileup in Los Angeles. Each time, the
publicity men dutifully checked him
out only to find he was fast asleep in
his own little beddy-by. When Mrs.
Bob answered the phone at three one
morning, the flacks knew that a fourth
false rumor had been squelched — that
his wife had left the Denver hearth
and home. Grumbled the publicists,
"We have more trouble with you than
with a dozen other actors." Sighed
Bob, "Gimme time, fellas ... it took
Mr. Crosby twenty years before they
took the heat off of him!"

ON THE RECORD

NOVEMBER 1961

Don Mills
Music Editor

THE MUSIC BIZ IS WOOING YOU
WITH ALL ITS MIGHT AND MONEY

4
1

(**■•■' 1

:>/ .

A GARLAND OF ROSES

FOR JUDY AT CARNEGIE HALL

• A Review in Depth: Last April
23, Judy Garland sang twenty-six songs
in a performance at Carnegie Hall for
a packed house of 3,165 partisan Gar-
land fans. That event, and the sixteen-
city tour that followed, elicited glow-
ing, thesaurus-researched phrases from
countless reviewers which said, in ef-
fect, "one of the greatest moments in
theatrical entertainment."

Capitol Records, with great acumen
and foresight, employed some engineers
to record the performance, and it's
now available at your local record shop
under the title "Judy at Carnegie Hall"
(Capitol WBO 1569).

This reviewer has fond memories for
the Judy of yore: As Dorothy in "The
Wizard of Oz" singing "Over the Rain-
bow," and as a teenager singing and

dancing in a variety of frothy movie
musicals, more often than not with
Mickey Rooney. You see, Judy and I,
along with millions of others, grew up
together. But (Continued on page 80H)

ON FOLLOWING PAGES:

The Movies: Hear Now,

See Later 80B

Jazz Poll Winners 80B

Listening Post 80C

Record Guide 80D

Up 'n' Comers 80F

Top Reoords of the Month . 80F

A Hit Is A Gamble 80G

Introducing Music Editor

Don Mills 80H

• The recorded music business, to para-
phrase Perry Como's famous TV intro,
is currently singing: "Records, we've
got records . . ." Never before have
there been so many records for a lis-
tening public. The number bought last
year was staggering — over 250 million
records, to be played on about 35 mil-
lion turntables. And countless millions
more were produced but not purchased
by an eager public.

As Fortune Magazine has pointed
out, America's musical tastes range
from "Itsy Bitsy Teenie Weenie Yellow
Polka Dot Bikini" to "Chinese Classi-
cal Masterpieces for the Pipa and
Chin." There are words and music to
suit each mood and occasion. There
are Americans who listen not only to
operas, symphonies and popular tunes,
but also to movie sound tracks and
bird songs, plays and poetry, comedians
and preachers, sports-car roars and
train whistles.

TV Radio Mirror's On The Record
section will bring you a comprehensive
look at the popular entertainment of-
fered on records, news and pictures of
the recording stars who make them,
and pace-setting appraisals.

On The Record brings you factual
behind-the-scenes stories of the rec-
ord business, the most popular records,
in LP's and singles, we know you'll
be enjoying and buying. On The Rec-
ord is a guide to the popular music
of our day from the latest smash rock
V roll single to the best of the Broad-
way and Hollywood sound tracks, spok-
en records from Shakespeare to Shelley
Berman, and the cream of the crop
from classical to jazz. It is the serious
intention of this new special section
to guide you to the record's most worthy
of your attention. And it is our hope
that on the pages of On The Record
you'll find the most complete guide to
popular words and music on record.
Happy reading, and happy listening!

80 A

ON THE RECORD

JAZZ POLL
WINNERS

Gerry Mulligan, MJQ,
Bill Evans, Mel Torme,
Miles Davis Head List

• The Gerry Mulligan Concert Jazz
Band won honors in the Billboard
Music Week, trade magazine's annual
Jazz Critics' Poll. The band's LP, "Gerry
Mulligan at the Village Vanguard"
(Verve 8396) won the Best Band cat-
egory.

Best Small Combo in the poll was
the Modern Jazz Quartet with their
two-record LP "European Concert" (At-
lantic 2-603).

Best Featured Instrumentalist
was Miles Davis with the Gil Evans
orchestra for his "Sketches of Spain"
(Columbia 8271), while Bill Evans'
"Explorations" (Riverside 351) was
judged Best Piano.

Vocal jazz honors were shared by
two LP's, "Mel Torme Swings Shubert
Alley" (Verve 2132) for Best Male
Jazz Singer, and "Lambert, Hend-
ricks, and Ross Sing Ellington" (Co-
lumbia 1510) for Best Vocal Group.
But the sixteen jazz critics, all eminent
in the field, couldn't agree on Best Fe-
male Jazz Singer. Among those
named: Ella Fitzgerald, Helen Humes,
Sarah Vaughn, ( Continued on page 80H )

The Sound of Jazz
Is Gaining Popularity

Recent records on pop radio
stations have had a definite sound
of jazz. "Last Night" by the Mar-
Keys (Satellite 107) and "Water
Boy" by the Don Shirley Trio (Ca-
dence 1392) have been high on
pop lists, and Dave Brubeck, a jazz
"name," has "Take Five" (Col.
41479) making it big.

Three other recent jazz-flavored
pop hits have been Ray Charles
"One Mint Julep" (Impulse),
Eddie Harris' "Exodus to Jazz"
(Vee Jay), and Cannonball Ad-
derley's "African Waltz" (River-
side).

Expect more and more jazz
sounds in the pop field. Two rec-
ord firms specializing in jazz, Riv-
erside and Prestige, have just
formed separate companies to re-
cord jazz aimed at the pop market.

THE MOVIES: HEAR NOW, SEE LATER

• Movie music is better than ever. A
movie musical used to produce a couple
of hit tunes after the movie opened at
downtown theaters, but now, not only
is the music released on records months
early, the movie isn't necessarily a mus-
ical. Number one record last year was
the theme from "Exodus," with Pat
Boone's vocal version and Eddie Harris'
jazz interpretation, "Exodus to Jazz"
(Vee Jay 3016), both finding additional
favor. It seems as if every motion pic-
ture released nowadays has a recording
of music from the film — sometimes of
music that was played only during the
beginning credits.

The latest ironic development to this
trend is the theme from "Fanny," star-
ring Leslie Caron, Maurice Chevalier,
Charles Boyer and Horst Buchholz.
Nobody sang in the movie, except for
two brief talk-a-long hum-a-long se-
quences, yet "Fanny" was originally a
Broadway musical — and now the Morris
Stoloff movie theme is a hit.

Movie makers are fully aware of the
softening-up value of a hit single in
increasing the success of a picture. And
record makers are just as aware that
successful movie themes are sure-fire
LP items. This fall you have a wide
choice of music from the movies (and
TV too, of course). United Artists has
followed up previous success with "More
Original Sound Tracks and Hit Music

from Great Motion Picture Themes"
(UAL 3158), ranging from "Gone with
the Wind" to "God's Little Acre."
Medallion has Vardi and the Medallion
Strings doing "Maggi's Theme" (ML
7527) from "The Parent Trap" and
others. Felix Slatkin has an adroitly
titled LP "Many Splendored Themes"
on Liberty (LMM13001), and from
the same label comes Gene McDaniels
singing "Movie Memories" (LRP 3204) .
RCA Victor's Stereo Action series "Goes
Hollywood" (LSA 2381) with the Marty
Gold orchestra, and a companion LP
"Goes Broadway" (LSA 2382) via the
Dick Schory orchestra. The Merrill
Staton Voices combine the two meccas
of music in "Sounds Broadway! Sounds
Hollywood! Sounds Great!" (Epic LN
3797).

Some movies are getting the full treat-
ment, an LP all to themselves. Henry
Mancini has "Breakfast at Tiffany's" on
RCA Victor (LSM 2362) and "Gone
With the Wind" is done by MGM
(E3954), Warner Bros. (W 1322), and
RCA-Camden (CAL 625), with the lat-
ter most favored by buyers.

With so many artists recording ma-
terial from the movies and the allied
arts of Broadway and TV — including
many more not mentioned here — it's
increasingly possible you'll be hearing
people say: "No, I missed the movie —
but I heard the music!"

MOM ORlCINAi. SOUND T8ACKS AMD HIT MUSIC F*OM

GREAT MOTION PICTURE THEMES

MARTY GOtO

80 B

THE LISTENING POST

Astaire's new venture: records.

• Well, here we go, putting a needle to
the groove for the first time. If that
sounds like a pun, it's only partly true,
'cause mainly we'll be applying the
needle to the record, in order to listen
and report what we hear. As you prob-
ably know, there's a lot of noise in the
record business, but what you will read
in the following paragraphs is, as near-
ly as possible, sound.

Van Cliburn, one of the few Ameri-
can phenomena the Russians can rightly
claim they discovered, has a new RCA
Victor LP out this month, called "My
Favorite Chopin" (LM 2497). Victor is
proud to announce that it's his first solo
album and that it features the well-
known Chopin "encore" pieces im-
mediately recognized even by pop music
lovers . . . they predict huge sales and
increased adulation for the young pian-
istic Texas genius.

If you can believe in surveys, Jensen,
the phonograph-needle and what-not
manufacturer, has polled the nation's
teenagers and come up with the fact
that 78 percent of those in their early
20s have turned from rock 'n' roll to
music they shrugged off as "square"
when they were "digging the real
sounds." At the same time, a report

from Philadelphia has it that over 500
middle-aged adults turned out for a
"Twist" dance contest, and night-club
band leaders have been forced to in-
clude the r & r novelty in their reper-
toire, sandwiched between "Tea for
Two" and "Night and Day."

Bobby Rydell has been learning
show business from no less a performer
than George Burns. The long-time
vaudeville entertainer and his appren-
tice did a soft-shoe routine at Las
Vegas' Sahara Hotel that wowed 'em.
Incidentally, a panel of disk jockeys
was asked recently what teen favorite
of today they thought would have the
stature of Crosby or Sinatra by 1970.
Two of the four picked Bobby.

Sam Cooke has a new LP out this
month called "My Kind of Blues," for
RCA Victor. Sam is gaining new fans
every day, especially with his more ma-
ture style. If you'd like to catch him in
person, fly down to San Juan for his
opening October 25 at El San Juan.

Chips off the old blocks this month
include Jim Mitchum (son of Bob),
who's now recording for 20th-Fox, and
Peter Duchin (son of the late pianist
Eddy Duchin), who will be sitting at
the 88 for Decca.

Fred Astaire, durable dancer-singer
extraordinaire, has formed his own
record company, and his first LP, just
released, features the sound tracks of
his three award-winning TV spectac-
ulars. Titled "Fred Astaire Medleys,"
it'll be released on the Choreo label.
Other artists signed by Astaire include
Carol Lawrence, star of Broadway's
"West Side Story," and a new singer,
Bill Cunningham.

Stereo on FM radio is the talk of the
record industry. With over 80 FM radio
stations figured to be broadcasting in
stereo by the end of the year, record
men are looking hopefully, even jubi-
lantly, to the new medium as their best
salesman for stereo records. There's
only one hitch: Even though you may
have some fancy FM tuning gear,
chances are you'll still have to buy an
FM stereo adapter at a cost of roughly
$50 to $150. But once the ball gets
rolling, watch out — 'cause stereo broad-
casting is definitely here. And it sounds
great !

Bobby Vee, seventeen-year-old Lib-

erty singer whose "Take Good Care of
My Baby" is "On the Record's" Pop
Single of the Month, will be featured
in an upcoming movie titled "Swingin'
Along." The film originally was called
"Double Trouble" and had no music,
but the producers decided it needed tun-
ing-up and that Bobby was just what the
doctor ordered.

The Chipmunks — Alvin, Simon and
Theodore — star in the new TV show
which debuted October 4 on CBS-TV.
Called The Alvin Show, the half-hour
animated cartoon feature will bring to
the home screen one of the most suc-
cessful recording trios in history. Brain-
child of David Seville (real name:
Ross Bagdasarian), Alvin and his
friends will be cutting more records for
Liberty, and previous Chipmunk LPs
will be re-packaged to reflect their new
TV personality.

Well, if you're in this crazy music
business long enough, you'll hear just
about everything. The latest is a stag-
gering announcement from Mercury
records that they've signed a new artist
with a $40,000 wardrobe and blue hair!
His name is said to be Ali Baba and the
wardrobe consists of thousands of rhine-
stones on silk and satin. Mercury execs
are not yet sure whether he can sing . . .
but they figure, with blue hair, how can
he miss? My hair's turning white al-
ready.

Elvis, the Big E, hitting top
again after two so-so-records.

80C

ON THE RECORD

Your Monthly ON RECORD Guicf&

VOCAL

•••••Judy At Carnegie Hall,

Judy Garland (Capitol WBO 1569)—
See review in depth on Page 80A. Judy
is in top form, with a recorded-live per-
formance providing all the electrifying
magic of the theater.

JUPY

jgf^BwwuHC- a ■■'■ w ■■-■'-■

••••I Like It Swinging, Buddy
Greco (Epic 3793) — Here's one of the
finest vocal talents around. Sinatra says
he's swinging on his two new LP's, but
after hearing Buddy tear into "Around
the World," "I Love Being Here With
You," and "Once In Love with Amy,"
among others, Frankie had better watch
out for his laurels. Top jazz men back
up the sessions, arranged and con-
ducted by Al Cohn.

•••Sing To Me, Mr. C, Perry
Como (RCA Victor LPM 2390)— Gen-
ial ol' Perry, comfortable as an old
shoe, lounges through eighteen familiar
ballads with warmth and ease. For
Perry's fans who just can't get enough
of him.

•••Remember The Night, And
The Girl, And The Song, various
artists (Warner Bros. 1426) — This is
a refreshing new entry, aimed at those
who say "they don't write songs like
they used to." Here are 12 hits from
the pre-war and World War II years,
in arrangements re-recorded by the
original artists, fifteen to twenty-five
years later, all sounding as spry as be-
fore. Included are such memory-pro-
voking hits as Art Lund's "Blue Skies,"
Ronnie Kemper's "Cecelia," Hoagy

Carmichael's "Hong Kong Blues,"
Martha Tilton's "And the Angels Sing"
and "Tangerine" by Bob Eberly and
Helen O'Connell.

•••Sinatra Swings, Frank Sinatra
(Reprise 1002) — The Leader gives his
usual polished performance but seems
to lack the old spark on some of the
tracks. The best are on side one, in-
cluding "Love Walked In," "Please
Don't Talk about Me When I'm Gone,"
and "Granada."

•••Join Bing In a Gang Song
Sing Along, Bing Crosby & His
Friends (Warner Bros. 1422)— Der
Bingle makes his second sing-along
album a compelling adventure down
Tin Pan Alley, with fifty old favorites
for you to dust your tonsils by.
•••Jump Up Calypso, Harry Bela-
fonte (RCA Victor LPM 2388)— His
first calypso album sold over a million.
This is his second, released six years
later. Most of the material has been
reworked from authentic West Indian
songs, which in their original form
would most likely be unintelligible. A
must item for Belafonte and calypso
fans.

••••Special Delivery, Delia Reese
(RCA Victor LPM 2391 ) —Delightful
Delia gives each song her own special
delivery, her own unique stamp. She puts
everything she's got into such songs
as "Won'cha Come Home, Bill Bailey,"
"Have You Ever Been Lonely?" and
"Three O'Clock in the Morning." Lis-
tening to Delia is like getting a letter
from home.

••••Come Swing With Me!,

Frank Sinatra (Capitol W 1594) —
Here's Frank again, satisfying his fol-
lowers with bright arrangements of
such great tunes as "On the Sunny Side
of the Street," "Lover," "That Old
Black Magic" and "Almost Like Being
in Love." The Billy May backing helps
too.

•••••Get Happy, Ella Fitzgerald
(Verve 4036) — When Ella sings a song,
it seems as if the songwriter wrote it
for her. She makes you hear trite-
sounding songs like "Somebody Loves
Me," "St. Louis Blues," and "Moon-
light Becomes You" for the first time.
"Consummate artistry" is the phrase
for her.

MOOD MUSIC

••••A Touch Of Elegance, Andre
Previn (Columbia 1649)— This LP
could be classified as jazz, but that
scares some people away. Andre Previn
playing the music of Duke Ellington is
clue enough for the jazz buff. But the
general listener, too, should have a
chance to hear the way Andre strokes
and fondles his piano with such loving
care on tunes like "Perdido," "Soli-
tude," and "I Got It Bad."
•••Lover's Portfolio, Jackie Glea-
son (Capitol WBO 1619)— This two-
record set is done up in fancy dress,
complete with a brochure on when to
serve what drink and how. The basic
idea of this package, is the modus
operandi for making love. The four
sides are divided into the following
moods: Music for sippin', music for

80 D

***** a FIE AT I
*** GOOD LISTENING

**** EXCELLENT
** IT'S YOUR MONEY

listenin'. music for dancin', and music
for lovin'. Gleason's selections could
be programmed by any amorously-bent
young man. But it's awesome to think
that young ladies all over the land may
be wooed according to the plans put
forth in "Lover's Portfolio."
•••Songs Of The Soaring '60s,
Roger Williams (Kapp 1251) — Roger
gives the piano treatment to hit tunes
of the last year or so, including "Itsy
Bit<> Teenie Weenie Yellow Polkadot
Bikini" as you've never heard it before.
When Roger is at the keyboard he
keeps everything, including you. hum-
ming right along.

OIN BJNG IN A

SONG SING ALONG

•••Somebody Loves Me, Ray Con-
niff Singers (Columbia 1642) — The
success of the Conniff LP's is that they
stick to tried-and-true melodies de-
livered in a danceable businessman's
shuffle or bounce. On this one, instead
of the chorus filling out the orchestra
with "ba-ba's" and "do-do's" they actu-
ally sing the words!
•••The Madison Avenue Beat,
Lester Lanin (Epic 3796) — Some of
the most memorable and catchy tunes,
even though they get maximum expo-
sure, never reach pop charts. Which
ones? Commercial jingles, of course —
the last untapped melodic cornucopia
of our cultural heritage. But now so-
ciety band leader Lester Lanin has
pulled out the first olive by arranging
58 TV and radio commercials for danc-
ing, or parlor games, like "Name That
Tune."

CLASSICAL MUSIC

•••••Beethoven "Emperor"
Concerto, Van Cliburn (RCA Victor
LM 2562) — The name of this pianist
is magic in the record store, and there's
no reason why a classical artist can't
also be good, which he is. Under Fritz
Reiner's baton with the Chicago Sym-
phony Orchestra. Van Cliburn, as solo-
ist, delivers an expert and vivid perform-
ance of Beethoven's last piano concerto.
•••••West Side Story & On
The Waterfront Symphonic Dances.
Leonard Bernstein conducting the New
York Philharmonic (Columbia 5651) —
Versatile and prolific Leonard Bern-
stein has taken excerpts from music he
composed for the violent themes of the
movie about longshoremen's strife and
the musical play about New York street
gangs and created a new listening ex-
perience. No longer mere elements of a
theatrical production, these two suites,
vigorous and tender by turn, gain a
life of their own. understood in musical
terms alone.

••••60 Years Of Music America
Loves Best, Vol. Ill, various artists
(RCA Victor 2574)— This, one of Vic-
tor's most popular series, can be thought
of as the "top 40" of the classical world.
Here you will find the great favorites of
all time, such as Lily Pons singing
"Caro Nome" from "Rigoletto," Fritz
Kreisler's "Caprice Viennois," and
Marian Anderson's "Go Down Moses."
A total of 12 collector's items and, at
$1.98. the price is right.

JAZZ

••••The Genius After Hours,
Ray Charles (Atlantic 1369) — Now
best known as a singer of rock 'n' roll,
blues and jazz, Ray Charles is also
a superb instrumentalist and composer,
as this LP proves. Heard here on piano,
Ray leads an inspired group through
five original tunes, plus groovy inter-
pretations of "Ain't Misbehavin," "The
Man I Love," and "Music, Music,
Music." This is for all who dig blues
piano and muted ensemble jazz.

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FOLK MUSIC

••••The Slightly Fabulous
Limeliters (RCA Victor 2393)— Folk
singers are much in demand these days,
and the Limeliters head the list. The in-
gredient that gives them top priority
is a sense of humor about their ma-
terial. Here's a thoroughly engaging
performance by this talented trio.

TEEN MUSIC

•••Hurt!!, Timi Yuro (Liberty
3208) — Newcomer Timi, who hit big
with her first single, the title song, has a
big voice and a throbbing style that
carry her neatly through 12 soulful bal-
lads, including "I'm Confessin'," "Cry,"
and "I Apologize." Her full soulful
sound is definitely the trend.

80E

ON THE RECORD

TOP 50 RECORDS

UP 'N' COMER

• Reflecting the current trend to more
soul in popular music, Eugene B. Mc-
Daniels is the son of Rev. B. T. Mc-
Daniels of Kansas City, Mo. Gene's
early musical contact was with a pro-
fessional gospel-singing group which he
joined at the age of 13. In high school
he played sax in the school band, soon
forming his own quartet and later other
vocal groups. By the time he was 20
he was considered a leading exponent
of gospel songs, and planned to become
a chorale conductor. When the Fred
Waring band appeared in Omaha, Ne-
braska, it was a great thrill of Gene's
life when Waring selected him to ap-
pear as guest soloist. But about this
time his musical horizon had broadened.
While attending Omaha and Nebraska
Universities and the Omaha Conserva-
tory of Music, he found himself in-
trigued by the jazz sounds of Dizzy
Gillespie, Miles Davis and Charlie
Parker, and singers Billie Holliday and
Sarah Vaughn. He decided to try Holly-
wood, and three days after his arrival
won a job at the Jazz Cellar after an
impromptu audition during a jam ses-
sion. Liberty Records finally heard a
tape submitted by his managers, Don
Reardon and Arnold Mills. After a
couple of fair-to-middling hits, he made
it big with "A Hundred Pounds of
Clay." He now has three albums to his
credit, the latest "Movie Memories."
And he appeals to both teens and adults,
with hit records in the rocking up-tempo
vein as well as smooth but swinging
ballads such as those in his LP's. A
versatile performer, Gene will be on the
music scene for quite a while.

• Hottest New LPS The Astronaut, Jose Jimenez (Kapp 1238)

On the Records monthly survey of the hottest new LP's
and singles lists those records showing the strongest sales
in retail stores, based on reports from manufacturers,
distributors, trade publications — including Bill Gavin
Record Reports, Billboard Music Week, Cashbox, and
Variety.

BEST SELLING NEW LP'S

Judy at Carnegie Hall, Judy Garland (Capitol WBO 1569)— Electri-
fying theater right in your own home.

Yellow Bird (Percussion Spectacular), Arthur Lyman (Life 1004)
— Unique sounds with gourds and drums galore.

Dance Till a Quarter to Three, Gary (U.S.) Bonds (Legrand 3001)—
Two smash singles in a row equal one smash LP.

Spanish Harlem, Ben E. King (Atco 113) — The Latin beat with soul
pays off. Includes his hot single, "Amor."

Moody River, Pat Boone (Dot 3384) — Pat's stronger than ever.

More Greatest Hits, Connie Francis (MGM 3942) — Connie's got sure-
fire international appeal.

Something for Everybody, Elvis Presley (RCA Victor LPM 2370)—
The big E can't miss.

Come Swing With Me, Frank Sinatra (Capitol 1594) — A swingin' ses-
sion from the Voice . . . er, ah, Our Leader.

Carnival & Other Broadway Hits, Mantovani (London 3250) — Great
lush sounds from the background music expert.

Ebb Tide, Earl Grant (Decca 4165)— National TV has helped Earl find
his fans.

Portrait of Johnny, Johnny Mathis (Columbia 1644) — His liquid voice
pours out more balm for the heart.

Four Preps on Campus (Capitol 1566) — The boys sing with bounce
and humor.

Yellow Bird, Lawrence Welk (Dot 3389) — The maestro has uh-one,
uh-two hits in a row.

The Highwaymen (United Artists 3125)— Their hit single "Michael"
has broken the way for this folk-singing group of collegians.

The Boll Weevil Song & Other Great Hits, Brook Benton (Mercury

20641) — Another LP follow-up to a smash single pays off.

THE HOT SINGLES

Who Put the Bomp (In the Bomp, Bomp, Bomp), Barry Mann
(ABC-Paramount 10237) — Great satire on the current bomp-bomp rama-
lama ding-dong sound.

The Mountain's High, Dick and Deedee (Liberty 55350) — A plaintive
sound and catchy drum beat make this outstanding.

You Must Have Been a Beautiful Baby, Bobby Darin (Atco 6206)—
Bobby's in rare form as he rocks this old standard.

Amor, Ben E. King (Atco 6203) — He tears into this beautiful old tune
with solid soul-searching.

oof

OF THE MONTH a h«t .s a gamble

• Hottest Single! Take Good Care of My Baby, Bobby Vee
(Liberty 55354)

Transistor Sister, Freddie Cannon (Swan 4078)— Delightful novelty

done in swinging style.

Little Sister, Elvis Presley (RCA Victor 7908)— Elvis back in the

groove after a couple of so-so hits.

The Way You Look Tonight, The Lettermen (Capitol 4586)— This

lovely old standard is given appropriate modern styling.

I Love How You Love Me, Paris Sisters (Gregmark 6) — The girls
have a haunting, delicate style that makes this very appealing.
Frankie & Johnny, Brook Benton (Mercury 71859) — This rip-snortin'
folk ballad is well told in bright up-tempo fashion.

Sweets for My Sweet, The Drifters (Atlantic 2117) — A solid blues
rhythm effort by these hit makers, now sounding softer without Ben E.
King's lead voice.

Let Me Belong to You, Brian Hyland (ABC-Paramount 10236)— He's
got a lot of voice on this ballad-rock.

Big Cold Wind, Pat Boone (Dot 16244)— A fine follow-up to "Moody
River," this is sung with strength and conviction by Pat.

The Astronaut, Jose Jimenez (Kapp 409) — Bill Dana's pacing and
inflection makes this riotous — and timely — selection from his LP listen-
able over and over again.

Stop Giving Your Man Away, Joyce Davis (United Artists 339) — An
exciting new voice and percussion-styled arrangement lifts this rocking
rhythm blues way out of the ordinary.

Hello Fool, Ralph Emery (Liberty 55352) — This answer record (to
"Hello Walls") by Ralph, who's a Nashville disc jockey, has all the
commercial ingredients.

Let's Get Together, Hayley Mills (Vista 385)— This talented young
actress, whose father John is also an actor, has done a remarkable job
of this tune from her starring movie, "The Parent Trap."

HOT SINGLES CONTENDERS

Does Your Chewing Gum Lose Its Flavor, Lonnie Donegan (Dot

15911).

I'll Never Smile Again, The Platters (Mercury 71847).

Cryin', Roy Orbison (Monument 447).

It's Gonna Work Out Fine, Ike & Tina Turner (Sue 749).

More Money For You and Me, The Four Preps (Capitol 4598).

Magic Moon, The Rays (XYZ 607).

Baby, You're So Fine, Mickey & Sylvia (Willow 23000).

One Track Mind, Bobby Lewis (Beltone 1012).

Packin' Up, Chris Kenner (Instant 3234).

Well I Ask Ya, Kay Starr (Capitol 4620).

My Blue Heaven, Dwayne Eddy (Jamie 1200).

It's Been A Long Long Time, Dottie Clark (Big Top 3081).

Memories of Those Oldies But Goodies, Little Caesar & Romans
(Del-Fi 4166).

The In-Between Years, James MacArthur (Triodex 112).

Back-To-School Blues, Jack Larson (Fraternity 884).

If You Don't, Somebody Else Will, Connie Stevens (Warners 5232).

I Talk To The Trees, Bud Dashiell and the Kinsmen (Warners 5231).

Take Five, Dave Brubeck (Columbia 41479)., ....,,-.

I Don't Like It Like That, The Bobettes, (Gone 5112).

But it can be done—
with $1,000 and luck

• So you'd like to be a hit recording
star! Years ago you studied harmony
and counterpoint in school, attended
special school of music, worked under
a famous tutor, or were born into a show
business family where your career
started at three with a cute soft shoe.

All you need now is a guitar, a rea-
sonable knowledge of how it works,
claim the South as your birthplace, and
have about $1000. Usually, although not
necessarily, you should be able to carry
a tune as well as the guitar.

Here's how it can work!

Get a couple of tunes whipped into
shape, preferable with a "bluesy" or
"funky" sound to them, get a bus ticket
to Nashville, or Hollywood or New York,
rent a recording studio for about $150,
make a tape recording and have it
edited for about $100. For another $112
you can get a master recording made.
Another $100 will go for a label design
and a thousand single records will cost
lltf apiece.

Now that you've got your records,
get the local deejay to play your record.
Then it's simple to find a distributor
to handle it in the area. Now all you
do is wait for the public clamor for
your record. If it's got it "in the grooves"
you'll have your hit and might sell half
a million at 98tf. You could come out
with about $75,000 — after taxes!

Of course, of the 6,000 or more singles
made each year, only about 300 are hits,
and a scant 25 of those get past the
half-million mark.

You can see it's a pretty big gamble.

And one more word of advice: Don't
call us, we'll call you!

80G

80H

ON THE RECORD

A Garland of Roses

for Judy at Carnegie Hall

(Continued from page 80A)

somehow, somewhere along the way,
Judy, the star, lost some of her luster.

But after listening to "Judy at Car-
negie Hall," I'm ready to admit that
the new Judy now shines brighter than
ever. Without a doubt, this LP is the
definitive Judy Garland, a triumphant
tour de force that should be on the
record shelf of every follower of show
business. Her dynamism, coupled with
the contagion of the audience, makes
this album a vibrant, never-to-be-for-
gotten experience. And speaking of
nostalgia: If, after playing Side Four,
you don't have a lump in your throat,
then you've never heard of Judy Gar-
land. As she does a reprise of the songs
identified with her — "You Made Me
Love You," "For Me and My Gal,"
"The Trolley Song," "Rock-a-Bye Your
Baby," and the big one, "Over the
Rainbow" — and then is pulled back by
an overwhelming ovation for three en-
cores— you can't help sharing in the
excitement of the moment.

Next March 11, Judy can be seen as
well as heard in an hour-long TV spec-
tacular on CBS-TV. I don't know about
you, but I'll be front row center.

Jazz Poll Winners

(Continued from page 80B)

Carmen McRae, Nancy Wilson, Nancy
Harrow, Anita O'Day, Etta Jones,
Aretha Franklin, Dinah Washington,
Ida Cox and Chris Connor.

It's no wonder that the critics, who
found no agreement on a female jazz
singer, were not unanimous in their
choices in other categories. With this
in mind, the runners-up in the poll can
in no way be considered "second best."
The rest of the jazz LP's mentioned:

Best Band: "Suite Thursday," Duke
Ellington (Columbia 1597), and "Out
of the Cool," Gil Evans (Impulse 4).

Best Small Combo : "Blues Aplenty,"
Johnny Hodges Combo (Verve 8358).

Best Featured Instrumentalist:
"My Favorite Things," John Coltrane
(Atlantic 1361), "Art," Art Farmer
(Argo 678), and "Gillespiana," Dizzy
Gillespie (Verve 8394).

Best Piano: "Dreamstreet," Erroll
Earner (ABC-Paramount 365).

Best Male Jazz Singer: "The Bill
Broonzy Story" (Verve 3000-5), and
"Muddy Waters at Newport" (Chess
1449).

Best Vocal Group: "The Double
Six of Paris" (Capitol 10259).

Introducing

Don Mills
TV RADIO MIRROR

Record Editor

Don Mills works in
idyllic surroundings —
aboard his houseboat.
Right: Don with wife Peggy,
daughter Robin, 12,
and son David, 18 months.

• Don Mills, our new record editor,
listens to the records he reviews in
idyllic seclusion — on a houseboat in
Sausalito on the San Francisco Bay. A
former Navy electronics technician,
Don has rigged up an intricate hi-fi
system that uses a tape recorder as am-
plifier, with all component parts pow-
ered by a clock radio so he can wake
up — or fall asleep — to the music of his
choice. The commanding view of the
Bay from his deck gives music an added
dimension, he says, "even though high
tide changes the acoustic's a bit."

Don started listening to and collect-
ing records in high school at Laguna
Beach, California — in fact, he was voted
entertainment director, a job that in-
volved taking care of the record player
at school dances. "I was elected because
I had the largest record collection," he
says.

In the years since, he has been active
in many phases of publishing and show
business. After graduation, in 1952,
from the University of California at
Berkeley, where he was an editor of the
campus daily, Don worked for several
Bay Area metropolitan newspapers,
then became publicity and public rela-
tions director of KPIX-TV. After two
years he moved on to the staff of TV
Guide Magazine. He returned to his

first love, music, three years later,
handling public relations for a large
group of record distributors. With this
experience, he is now well qualified to
offer objective evaluations of the con-
tinuous stream of new records released,
combining an insider's knowledge of
how the business really works with a
journalist's practiced eye — and ear.

Now thirty-three years old, Don
shares his rustic two-bedroom houseboat
with his wife Peggy, twelve-year-old
Robin — a willowy sub-teen who some-
times offers expert judgment on the
newest rock V roll — and eighteen-
month-old David Mercury (named after
the U.S. astronauts) , who loves to turn
up the volume-control knobs on the
hi-fi system.

Don is enthusiastic about TV Radio
Mirror's new "On the Record" section.
"My aim," he says, "is to cover the most
significant of the new records, both
LPs and singles in the popular field,
and news of recording artists who have
won popular approval or are most apt
to. I'll be trying to keep our readers
informed about the new directions the
record business takes, and I'm confident
that, among readers of general maga-
zines, they'll be the first to know the
latest about the fascinating world of
music on record."

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DECEMBER, 1961

MIDWEST EDITION

VOL. 57, NO. 1

Ann Mosher, Editor

Teresa Buxton, Managing Editor

Barbara Greenwald, Associate Editor

Jack Zasorin, Art Director

Frances Maly, Associate Art Director

Eunice Field, West Coast Representative

STORIES OF THE STARS

9 There's Something New on Radio (Richard Hayes) by Martin Cohen
10 The Daring Young Men on the Flying TV (data on this season's new "heroes")

by Betty Etter
14 Who'll Get the Guy? (Connie Stevens, Dorothy Provine and Ralph Taeger)

by Tony Wall
16 All About Jack Paar's Loaded Gun by Jim Morse
18 Ann-Margret: The Female Presley by William Tusher
20 Cut Out All That Jazz (kids talk about TV violence) by Jo Ranson
22 Telephone Talk Artist (Betty Walker) by Helen Bolstad
24 The Father Behind the Playboy (Dean Martin) by Kendis Rochlen
26 The New Champagne Lady (Norma Zimmer) by Maurine Remenih
30 Born 5,000 Years Too Late (George Maharis) by Marilyn Beck
32 Surf Side 6 Takes Over Miami Beach (on-the-spot picture story)
36 Window On Main Street (Robert Young) by Bill Kelsay
38 Hell Breaks Loose on Location (Bobby Darin, Steve McQueen, Nick Adams)

by Beatrice Emmons
40 TV Togetherness (June Dayton and Dean Harens) by Fredda Balling
42 The Animal World of TV (those four-footed stars)
46 The Lady with the Double-Talk Name (Billie Lou Watt) by Frances Kish

NEW RECORDING SECTION

80A On The Record: Special 8-page Magazine Within a Magazine

SPECIAL MIDWEST STORIES

49 Morning Outlook (Ryan Halloran of WAVE-TV)

50 The Doll of Cartoon Alley (Barbara Becker of WITI-TV)
52 It's a Young People's World (Taft TV)

54 Detroit's Favorite Bellboy (Jerry Gale of WXYZ-TV)

FUN AND SERVICE FEATURES

4 Information Booth

6 What's New on the West Coast by Eunice Field

8 What's New on the East Coast by Peter Abbott

44 Beauty: New Hair-Do Hit for Connie Francis by June Clark

63 New Designs for Living (needlecraft and transfer patterns)

72 New Patterns for You (smart wardrobe suggestions)

Cover Portrait of Dorothy Provine, Courtesy of ABC-TV

Published Monthly by Macfadden Publications, Inc.
Executive, Advertising, and Editorial Offices at 205 E.
42nd St., New York, N. Y. Editorial Branch Office, 434
N. Rodeo Dr., Beverly Hills, Calif. Gerald A. Bartell,
Chairman of the Board and President; Frederick A. Klein,
Executive Vice-President-General Manager; Robert t.
Young, Vice-President; S. N. Himmelman, Vice-President;
Lee Bartell, Secretary. Advertising offices also in Chicago
and San Francisco.

Foreign editions handled through Macfadden Publications
International Corp., 205 East 42nd Street, N. Y. 17, N. Y.
Gerald A. Bartell, Pres.; Douglas Lockhart, Vice-Pres.

Re-entered as Second Class matter, June 28, 1954, at the
Post Office at New York, N. Y., under the Act of March

3, 1879. Second-class postage paid at New York, N. Y.,
and other post offices. Authorized as Second Class matter
by the Post Office Department, Ottawa, Ontario, Canada.
© 1961 by Macfadden Publications, Inc. All rights
reserved. Copyright under the Universal Copyright Con-
vention and International Copyright Convention. Copy-
right reserved under the Pan American Copyright Con-
vention. Todos derechos reservados segun La Convencion
Panamericana de Propiedad Literaria y Artistica. Title
trademark registered in U. S. Patent Office. Printed in
U. S. A. by Art Color Printing Co.

Member of the Macfadden Women's Group.
Subscription Rates: In the U. S., its Possessions, &Canada,
one year, $3.00; two years, $5; three years, $7.50. All
other countries, $5.50 per year.

buy your January issue early • On sale December 7

4200°° >n GASH PRIZES

■■ %^ %^ (NOW ON DEPOSIT IN OUR SPECIAL PRIZE FUND ACCOUNT)

TO BE AWARDED TO 100
WINNERS IN OUR ANNUAL

PUZZLE CONTEST No. 8

Presented for Your Pleasure by TOWN & COUNTRY ASSOCIATION

You can sit down and solve this puzzle right now. Everything you
need is printed here. There is nothing to look up. No dictionary or
any other book is needed. Get in this fascinating game by solving
this puzzle now. It sharpens your wits and keeps your mind alert.
And it costs so little (just the $2.00 entry fee). You get more than
that value in fun and recreation. AND you may win a nice cash
prize — up to $2,000.00.

Here is a special feature in our contest. Every contestant will be
notified of his standing within 30 days after we receive his entry.
You will not have to wait and wonder for a long time as to how you
stand. If (as expected) a tiebreaker will be required, you will be
notified if you are tied with others.

RULES

1. Solve this puzzle as you would any other crossword puzzle except
that the letters you supply are determined, not by definitions, but by
letter values.

2. Fill in every empty square with a letter. When completed, every
series of 2 or more letters must spell a word both across from left to
right and down. Every word used in the solution must be taken from
the accompanying "OFFICIAL WORD LIST" and must be spelled
exactly as it is there. A word may be used more than once (no limit).

3. Black squares have no value. Using the letter values shown here,
add the value of all letters in each line (both the letters already in
the puzzle and those you supply) and place these line totals at the
right of the puzzle as indicated. Then add up these line totals and
put your Total Score in the space indicated. Add your score carefully
as any error in computing your score may disqualify your entry.
An entry once submitted cannot be changed. However, a contestant
may send in more than one entry. See Rule 6.

4. The highest score wins first prize, the next highest score wins
second prize and so on. (See Rule 7.) This is a contest of skill. There
are no "tricks" planned or allowed.

5. Anyone over 18 years of age. from the U.S. or Canada (including
military personnel abroad), may enter this contest except members
and employees of the sponsors, their advertising agents and their
immediate families. Each entry must be accompanied by a $2.00 entry
fee. This fee is to cover costs and administrative expenses.

6. A contestant .may send in more than one entry, but each entry
must be accompanied by the $2.00 entry fee. So if you see a chance
to improve on an entry you have already sent in, you may send
another. Extra entry blanks sent free on request. While various mem-
bers of a family may each enter the contest not more than one prize
may be won by one household.

7. Ties are expected, in which case a tiebreaker will be required. It
will be sent only to those who may be tied for any of the prizes. The
tiebreaker will be similar to this puzzle. It will be the same size, 12
squares each way. but will be more difficult, with fewer letters sup-
plied and more empty squares. The Official Word List, with more
words, will also be supplied. Five to seven days will be allowed for
solving tiebreakers. Highest score wins highest prize for which there
are ties, and so on. Each tiebreaker has its own rules and may have
slight changes.

If any ties still remain, additional tiebreakers up to 4 more may be
sent to determine the winners. If any ties still remain after the 5
tiebreakers, then the full amount of the prize or prizes tied for will
be awarded to each tied contestant. However, in our previous con-
tests not more than 2 tiebreakers were required to determine all
winners. There is never any additional fee for tiebreakers.

8. Contestants shall not receive from, nor furnish to, anyone outside
their own household, all or part of any solution in this contest.

9. Cut out the entry blank along the dotted lines, enclose your $2.00
fee and mail to Town and Country Ass'n, P. O. Box 1562, Tacoma 1,
Wash. Entries must be postmarked not later than midnight March
31, 1962, and received by April 11. 1962.

10. Promptness Prize — $500.00 cash. If you send your entry and $2.00
fee on or before the date shown on the Official Entry Blank, you will
qualify for the $500.00 Promptness Prize. This Promptness Prize will
be added to the first prize only.

11. When we receive your entry and $2.00 entry fee we will send you:

a. Acknowledgment of your entry (let us know if not received
in 30 days).

b. Notification of your standing at this point in the contest.

c. Our latest bulletin of news about our contests.

d. We will send you the list of prize winners of this contest, and
a copy of the highest scoring solution about the middle of
June, 1962.

12. By entering this contest, you agree to accept the judges' decisions
as final. The sponsors reserve the right to offer increased prizes.
We cannot be responsible for entries lost or delayed in the mail,
either incoming or outgoing. The sponsors reserve the right to decide
any and all questions that may arise concerning this contest. All
entries become the property of the sponsors. This contest is subject
to all Federal, State and Local regulations.

To help you get started, here is the correct solution for the first line:
A L — OX — H E
1 + 2 + 1 + 3 + 2 + 1 = 10, Line Total for first line.

First Prize Winners in our latest contests are :

Contest No. 4. $1000.00 cash was won by Mrs. R. E. Schneider,

7015 - 12th Ave. S.W., Seattle 6, Wash.

Contest No. 5. $1000.00 cash was won by Mr. W. D. Johnson,

909 Elmeer Place, Metaire, La.

Contest No. 6, $1000.00 cash was won by Mr. James E. Cahill,

Box 63, Warminster, Pa.

Contest No. 7, $2500.00 cash was won by Mrs. Betty E. Lee,

11910 Renton Ave.. Seattle 88, Wash.

In this. Contest No. 8, will YOU be the winner of the $2000.00
cash prize?

FIRST PRIZE $2,000.00

($1,500.00 PLUS $500.00
PROMPTNESS PRIZE)

SECOND PRIZE $1,000.00

THIRD PRIZE 400.00

FOURTH PRIZE 200.00

FIFTH PRIZE 80.00

SIXTH PRIZE 30.00

SEVENTH PRIZE 20.00

EIGHTH PRIZE 10.00

92 PRIZES. EACH $5.00. . 460.00
TOTAL $4,200.00

OFFICIAL WORD LIST

ART

AWARD

AWE

CAR

CASH

DEN

DOLLAR

DRY

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HIS
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MANY
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NEAT

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ORAL

ORE

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RAN

RISEN

SAT

SEAT

SEEN

SOD

SOL

SOLVE

TON

TOY

WAS

WILL

WIN

LETTER
VALUES

A-l
B-l
C-l
D-2
E-l
F-2
G-3
H-2
1-1
J-3
K-3
L-2
M-2
N-2
0-1
P-3
Q-3
R-2
S-2
T-2
U-2
V-3
W-2
X-3
Y-2
Z-3

THE ORIGINAL
CROSSWORD-VALUE PUZZLE

LINE
TOTALS

■

1 A |w

■

■1

■

1°

■L

-1

■■

■

1°

E | | N

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TOTAL SCORE

OFFICIAL ENTRY BLANK

To qualify for Promptness Prize mail on or before
MARCH 10, 1962

PLEASE PRINT PLAINLY

Name.

Address.
City.

.State.

Be sure you enclose your $2.00 Entry Fee

Cut out along dotted lines and mail to:
Town & Country Ass'n — P. O. Box 1562, Tacoma 1, Wash.

PERIODIC PAIN

Midol acts three ways to bring
relief from menstrual suffering.
It relieves cramps, eases head-
ache and it chases the "blues".
Sally now takes Midol at the j
first sign of menstrual distress. ^

"WHAT WOMEN WANT TO KNOW"

FREE! Frank, revealing 24-page book
explaining menstruation. Write Box 280,
New York 18, N. Y. (Sent in plain wrapper.)

information booth

Anita Bryant

The Winningest Loser

I'd like to read about that fabulous,
fascinating singer, Anita Bryant.

D.Y., Garf. Hts., Ohio

By losing the title of Miss America
in 1959 and emerging second runner-up,
Anita Bryant won: The title of the na-
tion's "number one female recording
artist" in 1960 and "best vocalist of the
year 1960," as named by the Academy
of Television Arts and Sciences ... a
recording contract which has made her
albums and single discs among the most
popular in the country ... a regular
slot on Don McNeill's Breakfast Club
... a loving husband, Robert Green,
whom she married in June, 1960! Born
in Barnsdale, Oklahoma, Anita began
singing in school operettas, appeared
professionally on WKY-TV and on
KOTV in Tulsa, and was an Arthur
Godfrey talent winner. . . . For a year,
she attended Northwestern University,
majoring in drama, speech and piano.
Then the Miss America Pageant and
fame! ... A 5'4" beauty, Anita has
three gold records to her credit, plus
several top albums. Today, she and her
husband tour the country, playing night
clubs, theaters, TV shows, and record-
ing for Columbia. At home in Miami,
Anita rides, swims, skin-dives.

Some Quickies

Are Don Hastings of As The World
Turns and Bob Hastings of The Bright-
er Day any relation?

H.B., Fairplay, Maryland

Bob and Don are brothers in real life.

Are Rhodes Reason and Rex Reason
related?

J.M.I., New Haven, Conn.
Again, a set of brothers.

/ would like to know when and where
Bobby Rydell was born.

A Reader, Milan, Michigan
Bobby, 19, is a native of Philadelphia.

Is Eddie Hodges Mickey Rooney's
son?

V.M.P., Kila, Mich.
The two redheads are no relation.

Are Penney Parker and Sherry Jack-
son, who played Terry on The Danny
Thomas Show, sisters?

M.H.M., Bloomfield, N.J.

No, they're not.

Where was Carolyn Jones born and
how old is she?

E.L.J., Jacksonville, Fla.

Carolyn was born in Amarillo, Texas,
on April 28, 1932.

Is it true that Maynard from Dobie
Gillis — Bob Denvers — died when a tran-
sistor fell in his bathtub?

P.C., Riverton, N.J.

All you Maynard fans can relax! Bob
Denver is very much alive, kicking, and
pruning his beard. Just watch him this
season on Dobie Gillis.

Bob Denver and wife Maggie

Johnny Carson

Emcee Johnny C.

Please tell me about Johnny Carson,

emcee on ABC's Who do You Trust?

I M.S., Parkersburg, W. Va.

Born too late for vaudeville training,
comedian Johnny Carson was hatched
into the entertainment world through
TV. A native of Corning. Iowa, he early
became a mail-order magician and ven-
triloquist. Soon high-school-student "The
Great Carsoni" was busy mystifying and
delighting audiences. . . . After Navy
duty aboard the U.S.S. Pennsylvania
from 1943 to '45. Johnny graduated from
the University of Nebraska. He gained
experience on WOW Radio and TV in
Omaha before heading to Hollywood as
an announcer on KNXT. Off-hours, he
wrote and created a show, which got
him a weekly showcase for his comedy,
satire and ventriloquism. Writing mono-
logues for Red Skelton led to his "big
break" when he was called upon in the
1954-55 season to substitute for an in-
jured Skelton. With ninety minutes' no-
tice. Johnny spent forty-five of them
driving to the station. Three months
later, he achieved his own network show
and then came Who Do You Trust? . . .
While emceeing this successful daytime
quiz. Johnny replaced Tom Ewell on
Broadway in "Tunnel of Love" and made
several guest comedy and dramatic ap-
pearances on top TV variety shows.
Johnny and his wife Jody, now sep-
arated, have three sons — Kit, 11; Ricky,
9; and Cory, 8.

We'll answer questions about radio and
TV in this column, provided they are of
general interest. Write to Information
Booth, TV Radio Mirror, 205 E. 42nd
St., New York 17, N. Y. Attach this
box, specifying network and program
involved. Sorry, no personal answers.

NOW!

GO FROM NEARLY BLONDE
TO CLEARLY BLONDE...

WITHOUT
ARTIFICIAL COLORING!

by RICHARD HUDNUT

Take a look at the galaxy of stars! All attended the "Ice Follies9' opening

Eddie Albert, lovely Margo and their son Eddie. Clint Walker of Cheyenne, wife Verna, their Valerie Jean.

Imma©®

Enjoy Yourself Before The Rent
Comes Due: For oh, so many years,
Shelley Berman and wife Sarah
dreamed of the glittering day when
he would hit the big time and they
would move into a truly plus apart-
ment. Six months ago, Shelley de-
cided that his bankroll and prestige
as a comic were secure enough to
take the leap. He went out and, as
a surprise to his faithful partner in
life, rented a $900-a-month apart-
ment in an exclusive section of New
York City. The Bermans moved in
and, for two weeks, were deliriously
happy. Then came business knock-
ing at the door. "I've gotten so busy,
I don't think I've spent four nights
in the place since the first couple
of weeks," moans Shelley. "It's good
to make money, but I've been on
the road constantly. Now I've gone
into the stage show, 'Guys and Dolls,'

in a part I love — but where is it?
It's in Los Angeles! I suppose Con-
fucius would have some profound
comment to make on the irony of it
all. But me — all I can say is, 'Why
didn't I have such a beautiful place
back when I was just an unem-
ployed shnook?' "... When the Bit-
ten Bites, You're Liable To Get Bit:
Talking about the problems of an
actress, Lory Patrick, pretty addi-
tion to the new hour-long Wells
Fargo series, told the following tale:
"I'd never done much riding until
I was signed for the series," she
said. "And, the first day on location,
I got on a horse that seemed per-
fectly safe and friendly. Unfor-
tunately, there were a lot of flies
around and the poor beast was try-
ing to keep them off by snapping
his jaws at them. Suddenly he
reared, twisted around, and chomped

at a big buzzer. He missed the fly
and bit my knee instead. The next
day, I showed up with an infection.
My knee was swollen and my nose
looked like a bright red bulb. The
horse got a shot of penicillin and
that cured him. But I had to be
treated for weeks after. You can
take my word — and this is no horse-
play, either — when I mount a nag
these days, I go prepared with a
can of insect spray."

Helter-Skelter and Skiddoo:
Hollywood has long been a prime
target for crooks and con men, but
one current racket has grim over-
tones and Eddie Albert is leading
a crusade to fight it. It concerns
the campaign by legit builders to
interest the public in fallout shelters
as a matter of national survival.
Smoothies have moved in with scare
ads, promising to build shelters for

$4,000 and up — but, after collecting
large sums of money from actors
and other citizens, the crooks skip
town. The situation has become so
serious that both Civil Defense and
the Screen Actors Guild have issued
warnings to investigate before in-
vesting in a shelter. Eddie, on his
part, is waging a campaign for com-
munity shelters where people too far
from home may find safety, in the
event of a bombing. "Since national
survival depends on individual sur-
vival, I'm for both private and pub-
lic shelters," says Eddie. "And as for
these fly-by-nighters who are cash-
ing in on an emergency affecting the

when she demanded, "If you don't go
fishing, what do you use a worm
for?" . . . Gogi Grant and husband
attorney Bob Rifkind expect their
first addition in March. . . . Pretty
Cathy Crosby finally seems to have
found happiness as the bride of Texas
oil-man Eddie Gilbert. Her parents
were at the wedding, papa Bob gave
his daughter away in marriage, then
he and wife June moved to Hono-
lulu a week later. "From now on,"
said Bob, "I'll commute only when
the kitty needs refilling. I wish we'd
left Hollywood years ago. It's no
place to find contentment." The
Crosbys bought their Hawaii proper -

The talented pooch last menaced
Richard Boone in a Have Gun — Will
Travel segment, but, from now on,
will acept no more "heavy" parts,
says trainer Jack Weatherwax.
Rocco will start next season in The
Phantom, a TV series based on the
comic strip of the same name. Roger
Cread plays the title role, with Rocco
as his faithful companion "Devil."
. . . Alice Faye, making her movie
comeback in 20th-Fox's "State Fair,"
was amazed at the number of auto-
graph seekers who sought her out
on the Dallas, Texas location. The
tots and teenagers had seen her old
pictures on TV, and their parents

Doug McClure of Checkmate with
his steady girlfriend, Barbara Luna.

Rarely seen in public — Bob Conrad,
Hawaiian Eye co-star, wife Joan.

Barbara Billingsley (Beaver's mom)
and hubby, Dr. William Mortensen.

lives of their countrymen, I can only
say they are the lowest of the low
and should be dealt with to the maxi-
mum of the law."

Quickies: The breakup of one of
the most famous night-club and re-
cording teams occurred in Las Vegas
in early October, when singer Keely
Smith divorced her bandleader hus-
band Louis Prima. Their split was
rumored for months, but Louis and
Keely either denied the rumors or
refused to comment when questioned
by reporters. Then, the nine-year
marriage ended after only 15 minutes
in closed court. Keely was quick to
comment, "The divorce doesn't mean
I'll never work with him again." . . .
Barbara Billingsley, driving along
the Pacific Coast with husband Dr.
William Mortensen, spied a sign
which said: "Worms For All Uses."
Even Dr. William couldn't answer

ty years ago, with the idea of retire-
ment in the island paradise. . . . Bob
Conrad, another Hawaii devotee,
takes his wife and two daughters
there for the Christmas holidays.
"Also my new surfboard," he ex-
plains. "I want to try it in those
breakers." Bob's been to the Islands
three times to shoot Hawaiian Eye
footage, but never really enjoyed it.
"Too lonesome for my family," says
he. . . . Clint Walker, too, has taken
to the water — only in a different
fashion. "Cheyenne" has been spend-
ing his weekends shark-hunting at
Catalina, with wife Verna just
watching boat-side. "I enjoy back-
woods gold-searching with Clint,"
says she, "but I'll leave the shark-
spearing to Clint, thank you." . . .
"Rocco," the famed dog villain of the
canine movie and TV world, is get-
ting a chance to play hero at last.

remembered the same films from
theater "bank night" days. Alice kids
about her first scene, alone in the
Swine Pavilion of the Texas State
Fair Grounds, with forty Hampshire
and Duroc hogs. "After fifteen
years," says she, "I made my re-
debut with forty other hams!"

Learn The Part But Not So
Good : Ralph Taeger is no mere play-
actor. He strives for the real thing.
When he was starred in Klondike he
learned to ski and sled expertly.
From this TV series, he went into
Acapulco and adventures in a tropi-
cal paradise — for this, he had to
learn almost every sort of water-
sport, including skin-diving. More
recently, Ralph was starred in the
feature "X-15," in which he por-
trays a pilot. Told by the producer
to familiarize himself with the in-
strument (Continued on page 55)

Nov. 30, Hallmark Hall Of Fame proudly presents "Victoria Regina"— with Julie Harris and James Donald!

obj W®$®w Abb®U

On Camera: Bobby Darin, always a
rebel, threatens to start his own Rat
Pack for younger-generation Sinat-
ras. . . . Nineteen-year-old Bobby
Rydell still the hottest of the young
performers. Desi Arnaz now prepar-
ing TV series, Teenage Millionaire,
starring Bobby with Rocky Graziano
as co-star. Rumors of his getting
married are getting Bobby angry.

"Not the kind of subject you kid
around about," he says. "Besides,
those columnists have me engaged
to girls I've never even met." . . . Al-
ready under serious consideration
for next season is the expanding of
several Westerns from a full hour to
ninety minutes. Rawhide is one
shoot-em-up that may be expanded,
though co-star Clint Eastwood is not

happy about it. . . . Season's first
major event comes up November 30,
via NBC -TV. Julie Harris, James
Donald and Basil Rathbone star in
"Victoria Regina," directed by Em-
my Award winner George Schaeffer.
. . . Robert Stack's contract expires
this coming April. Talk around that
he won't renew, but the odds are
that he'll be (Continued on page 56)

THERE'S SOMETHING

NEW

ON RADIO

Richard Hayes — teamed with Carol Burnett
for music and fun on CBS Radio — talks
about the special challenge of their show

Two ever-ready for laugh or lyric: Carol and Richard.

Four who are young in heart (but

glad to be getting older): Richard and

Monique, three-and-a-half-year-old

son Jonathan, baby Jacqueline Michele.

by MARTIN COHEN

■ Richard Hayes, dark and handsome,
doesn't seem to make sense at first. A
youthful veteran of Broadway and
night clubs, a recording star, a promi-
nent deejay, he stuns you with his
comment on CBS Radio's new Carol
Burnett — Richard Hayes Show. He says,
"This radio show is the biggest thing
that could happen to me. I'm a real
happy guy about it."

But he appreciates the incongruity of
his statement. "Look, I'm not so foolish
as to think it's the same thing as getting
your own nighttime TV network show.
Let me explain As a kid, I listened to
radio as people watch TV these days.
I had programs I wouldn't miss. While
other kids wanted to grow up and be-
come movie stars, I daydreamed about
being a radio star. I used to think it
would be wonderful to be sitting on a
bus and the man next to you wouldn't
recognize you — (Continued on page 60)

The Carol Burnett — Richard Hayes Show, pro-
duced and directed by Bruno Zirato Jr., is on
CBS Radio, M-F, from 7:10 to 7:30 P.M. EST.

the Daring Young Men

The money is big.
The gamble is bigger.
In this season's new series,
here are the masculine stars
who' re making a high-flying
try for top TV ratings

Mark Richman: Ex-Navy and pro
football — now hunting Coin's Hundred.

James Franciscus: For glory of Yale, new baby — and The Investigators.

by BETTY ETTEII

■ Every night this fall, at least one daring
young man is gambling his career on TV. Some
can feel reasonably sure of an escape hatch if
their shows sink in the murky waters of low
ratings. To others, it's a tremendous gamble,
played for high stakes. They may make it big,
as Jim Garner and Gardner McKay did. If they
don't, it's back to the world of insecurity until
another chance to ride the big rocket comes
along. "Dean" of the plungers is sad-faced comic
Joey Bishop, familiar to TV audiences from his

on the Flying / |

Brian Kelly: From auto-happy
Detroit to sports-car racing in
Straightaway. Right, John
Ashley: From Oklahoma State to
TV — and a record contract.
(P.S. Both co-stars are single!)

John Derek: Once a teen-age idol —
now starred in season's only new Western.

Adam West: Fame — and
a regal bride — in Hawaii.

Joey Bishop: Keeping his old
New Jersey home — "just in case"!

Continued

the Daring Young Men

The money is big.
The gamble is bigger.
In this season's new series,
here are the masculine stars
who're making a high-flying
try for top TV ratings

Marie Richman: Ex-Navy and pro
football — now hunting Cain's Hundred.

James Franciscus: For glory of Yale, new baby— and The Investigators.

\*y BETTY ETTEK

To.fnT5' ^ ^S lM- at least <*e daring
young man is gambling his career on TV Some
can feel reasonably sure of an escape hatch if

Xs T? T " ^ mUI'ky waters oftw
.atmgs To others, it's a tremendous gamble

a Jim S h'gh S^k6S- They <*** ™ake " b,'
Hon tt unel' and Gm'dnei' M=Kay did. If they

Joey B.shoP. famU.ar to TV audiences from his

Brian Kelly: From auto-happy
Detroit to sports-car racing in
Straightaway. Right, John
Ashley: From Oklahoma State to
TV — and a record contract.
(P.S. Both co-stars are single!)

John Derek: Once a teen-age idol —
now starred in season's only new Western.

Adam We«t: Fame — and
a regal bride — in Hawaii.

Joey Bishop: Keeping his old
New Jersey home — "just in case"!

Continued

the Daring Young Men on the Flying J |

Vincent Edwards: Bachelor, farmer's son

(from Brooklyn), swim champ — now Dr. Ben Casey.

Robert Lansing: Driving a pink school

bus led to stardom as 8/th Precinct detective.

guest appearances with Jack Paar, Dinah
Shore and Ed Sullivan, and as panelist on
Keep Talking. Obviously, a fellow who is
in constant demand at top night clubs —
who emceed last January's Inaugural Gala
and the East Coast portion of the Emmy
Awards — doesn't have to hustle for jobs.
Yet Joey, at forty-three, has elected to
take the plunge into series TV via a situa-
tion comedy in which he plays a harassed
press agent. It's not his first crack at
acting; he has made a few movies, latest
of which is his pal Sinatra's "Soldiers 3."
And he's not burning all his bridges be-
hind him. Though he's rented a house in
the Hollywood hills and his wife and teen-
aged son Larry have joined him there,
he's keeping the white brick homestead
in Englewood, New Jersey — just in case.
Dick Van Dyke, who's also starring in
his own situation-comedy series this sea-
son, hasn't had to worry recently about
where his next job was coming from,
either. In nine years on TV, the Danville,
Illinois "boy-who-made-good" has had
morning, afternoon and evening shows,
and has "filled in" for many an emcee.
And since last winter, when he made a big

Dick Van Dyke: From Broadway to Beverly

Hills — new home to show faith in new comedy series.

Three stars for Follow

The Sun: Barry Coe (left),

who found it was no gag!

Gary Lockwood (above), who's

the least experienced, has

most to gain. Brett Haltey,

who was discovered as a

studio usher — by Jack Benny.

personal hit in the Broadway musical,
"Bye Bye Birdie," he's had his choice of
jobs. What he chose was a series dreamed
up by Carl Reiner in which he plays a TV
comedy writer as wacky in his personal
life as in his scripts. The thirty-five-year-
old comic obviously has great faith in the
new show. He's given up his house on
Long Island, bought a place in the Bev-
erly Hills area, and moved his family to
the land of orange groves and Klieg lights.
It was no small chore, for Dick and his
wife Marjorie (married on Bride And
Groom in 1948) have three children:
Christian, 11; Barry, 10; and daughter
Stacey, 6 — plus a full quota of bicycles,
musical instruments and pets.

The tall, dark and handsome chap who
plays the title role in Ben Casey had a
lot of experience going for him when he
was buckled into the rocket-to-stardom.
Vincent Edwards — born Vincent Zoino in
Brooklyn — had made his way up from
school plays via (Continued on page 64)

the Dating Young Men on the Flying i

Vincent Edwards: Bachelor, farmer's son

(■from Brooklyn), swirn champ — now Dr. Ben Casey.

Robert Lansing: Driving a pink school

bus led to stardom as 8/tli Precinct detective.

guest appearances with Jack Paar, Dinah
Shore and Ed Sullivan, and as panelist on
Keep Talking. Obviously, a fellow who is
in constant demand at top night clubs—
who emceed last January's Inaugural Gala
and the East Coast portion of the Emmy
Awards— doesn't have to hustle for jobs.
Yet Joey, at forty-three, has elected to
take the plunge into series TV via a situa-
tion comedy in which he plays a harassed
press agent. It's not his first crack at
acting; he has made a few movies, latest
of which is his pal Sinatra's "Soldiers 3."
And he's not burning all his bridges be-
hind him. Though he's rented a house in
the Hollywood hills and his wife and teen-
aged son Larry have joined him there,
he's keeping the white brick homestead
in Englewood, New Jersey — just in case.
Dick Van Dyke, who's also starring in
his own situation-comedy series this sea-
son, hasn't had to worry recently about
where his next job was coming from,
either. In nine years on TV, the Danville,
Illinois "boy-who-made-good" has had
morning, afternoon and evening shows,
and has "filled in" for many an emcee.
And since last winter, when he made a big

Dick Van Dyke: From Broodwoy to Beverly
HHIs-new home to show faith in new comedy series.

personal hit in the Broadway musical,
"Bye Bye Birdie," he's had his choice of
jobs. What he chose was a series dreamed
up by Carl Reiner in which he plays a TV
comedy writer as wacky in his personal
life as in his scripts. The thirty-five-year-
old comic obviously has great faith in the
new show. He's given up his house on
Long Island, bought a place in the Bev-
erly Hills area, and moved his family to
the land of orange groves and Klieg lights.
It was no small chore, for Dick and his
wife Marjorie (married on Bride And
Groom in 1948) have three children:
Christian, 11; Barry, 10; and daughter
Stacey, 6— plus a full quota of bicycles,
musical instruments and pets.

Three stars for Follow

The Sun: Barry Coe (left),

who found it was no gag!

Gary Lockwood (above), who's

the least experienced, has

most to gain. Brett Haltey,

who was discovered as a

studio usher — by Jack Benny.

Who 11 get the guy?

In this corner: Connie Stevens— also known as "Cricket" in Hawaiian Eye.

by TONY WAIX

■ Ralph Taeger twisted his mouth into a half-smile
as he stared intently at his plate, then looked up at
the beautiful girl across the table. She was staring
intently at him. "Okay?" he asked.

"Okay," the girl said. "Very much okay. But what
about you? I wouldn't say you are okay."

"Me? Oh, sure," Ralph said. But, down inside, he

was taut as a drumhead. And not even the elegance
and fine food of the posh restaurant in which he and
the girl were dining could relax him.

The girl across from him was Dorothy Provine.

The girl should have been Connie Stevens!

Dorothy was understanding and she was fun. Ralph
regarded the classic beauty (Continued on page 67)

Dorothy
Provine

Connie
Stevens

In the middle: Ralph Taeger,
exciting, eligible — and hard to hold.

«T>

On this side: Dorothy Provine of The Roaring 20's.

Who 11 get the guy

In this corner: Connie Stevens

by TONY WALL

■ Ralph Taeger twisted his mouth into a half-smile
as he stared intently at his plate, then looked up at
the beautiful girl across the table. She was staring
intently at him. "Okay?" he asked.

"Okay," the girl said. "Very much okay. But what
about you? I wouldn't say you are okay."

"Me? Oh, sure," Ralph said. But, down inside, he

was taut as a drumhead. And not even the elegance
and fine food of the posh restaurant in which he and

Zu"1 Were dining could relax him'
The girl across from him was Dorothy Provine.
The girl should have been Connie Stevens!
Dorothy was understanding and she was fun. Ralph
regarded the classic beauty (Continued on page 67)

In the middle: Ralph Taeger,
exciting, eligible — and hard to hold

>, >

Vai

■^

iii&>

America's midnight madcap has
a way of landing like a pistol
shot on Page One. Here's an
informed guesstimate on where
the next explosion will put him

by JIM MORSE

■ Jack Paar has done it again. . . . Aside from
the death of a prominent star, an occasional
wedding or divorce, or a scandal of top propor-
tions, news about show-business personalities
is generally relegated to the inside pages of the
nation's newspapers. Not so with Jack Paar.
It's Page One for him!

Paar's most recent headline-making caper, of
course, involved the filming of his TV show on
the East Berlin border. Congressmen heaped
criticism on the NBC showman . . . the East
German Communist regime warned the U. S.
Army not to "play war games" for television
cameras on the border in Berlin . . . and the
Defense Department relieved one Army officer
of his duties and admonished another (although
these actions were later rescinded).

All of this projected Paar into the world's top
news story. And, for him, East Berlin became
another controversy in a series which has in-
cluded the water closet, Fidel Castro and Ed
Sullivan.

The direct result — as is always the case when
Paar boils — was that his ratings zoomed. The
indirect result was an additional shot of pressure
on NBC's No. 1 problem: A decision on who
will eventually succeed Paar on his late-at-
night program.

As the millions of regular viewers of the Paar
circus are well aware, the hero of the midnight
air has for some time now been threatening to
leave the grind of a daily program in favor of a
more relaxed schedule.

In the past, these threats have usually been
made when Paar was about to begin negotia-
tions for a new contract or was seeking conces-
sions from the NBC brass. His salary has been
increased, and concessions have been made. For
example, his shows were decreased from five a
week to four, with the (Continued on page 65)

The Jack Paar Show is seen on NBC-TV, M-F, 11 :15 P.M.
to 1 A.M. EST. See local papers for time in your area.

America's midnight madcap has
a way of landing like a pistol
shot on Page One. Here's an
informed guesstimate on where
the next explosion will put him

by JIM MORSE

Paar's most recent headline-making caper, of
course, involved the filming of his TV show on
the East Berlin border. Congressmen heaped
criticism on the NBC showman ... the East
German Communist regime warned the U. S.
Army not to "play war games" for television
cameras on the border in Berlin . . . and the
Defense Department relieved one Army officer
of his duties and admonished another (although
these actions were later rescinded).

All of this projected Paar into the world's top
news story. And, for him, East Berlin became
another controversy in a series which has in-
cluded the water closet, Fidel Castro and Ed
Sullivan.

The Jack Paar Show is seen on NBC-TV, M-F, 11 :1S P.M.
to 1 A.M. EST. See local papers for time in your area.

yi'mfyi ;

Ann-Margret:

The
Female

Presley

by WILLIAM TITSHER

■ In the Congo Room at Las Vegas' Sahara
Hotel, George Burns announced the next
act in his revue: "Ladies and gentlemen, I
want you to meet a young lady who is going
to sing her way into your hearts — one of
those breaths of fresh air that now and then
sweep over show business, a girl with the
voice and face of an angel — direct from the
campus of Northwestern University, I give
you a wholesome and refreshing new
personality, Ann-Margret!"

Ann-Margret chuckles when she recalls
her big-time debut with George Burns —
a performance which led to her contract
as an RCA recording star, an appearance
on a Jack Benny TV special, and her co-
starring role with Pat Boone and Bobby
Darin in "State Fair," her first picture
in a seven-year dream pact with 20th
Century -Fox.

"Here I was, direct from Northwestern
and everything," says shapely Ann-Margret
(115 pounds, five-feet-four-and-three-
quarters), "and they expected to see me
come on with a frilly dress and everything.
I guess they were startled to see me running
on with these (Continued on page 75)

the
body
moves..

the
hair
swings...

the
voice
entices..

Ann -Margret:

The

Female
Presley

by WILLIAM TUSHER

Ann-Margret chuckles when she recalls
her big-time debut with George Burns—
a performance which led to her contract
as an RCA recording star, an appearance
on a Jack Benny TV special, and her co.
starring role with Pat Boone and Bobby
Darin in "State Fair," her first picture
in a seven-year dream pact with 20th
Century-Fox.

the
body
moves..

the

hair

swings...

the
voice
enticesl

The Kids Sound Off on TV Violence:

CUT OUT ALL

JO HANSON

THAT JAZZ

!'£!

J*.

■ An inquiring reporter in search of TV program tastes among the
moppets of the land recently emerged with reassuring findings: He
encountered a ten-year-old redhead named Peter who was a
confirmed Western- oater fan. Among Peter's favorites were Wyatt
Earp and Gunsmoke. The family permitted him to watch these
horse operas — provided he finished his homework and straightened
his room. Time and again, Peter saw an endless procession of
stage-line holdups and dishonest gambling goings-on.

These frontier-day shenanigans bothered his father. "Peter," he
said sternly, "villains always get punished and they are nothing
but bad men, and the women they go with are not nice. Just
remember that!" But Peter, like many of {Continued on page 73)

The Kids Sound Off on TV Violence:

CUT OUT ALL

JO HANSON

THAT JAZZ

■ An inquiring reporter in search of TV program tastes among the
moppets of the land recently emerged with reassuring findings: He
encountered a ten-year-old redhead named Peter who was a
confirmed Western-oater fan. Among Peter's favorites were Wyatt
Earp and Gunsmoke. The family permitted him to watch these
horse operas— provided he finished his homework and straightened
his room. Time and again, Peter saw an endless procession of
stage-line holdups and dishonest gambling goings-on.

These frontier-day shenanigans bothered his father. Peter, he
said sternly, "villains always get punished and they are nothing
but bad men, and the women they go with are not nice. Just
remember that!" But Peter, like many of (Continued on page 73)

■ Strawberry blonde Betty Walker's bright, two-minute spots
on the big ABC Radio feature, Flair, are billed as fiction and
comedy — but give listeners the feeling of eavesdropping on
real life. The telephone is Betty's medium and her one-sided
conversations with an imaginary husband, Warren, and her girl
friends, Ceil and Birdie, are masterpieces of timing.

In an accent which is a blend of Bronx, Brooklyn, Lower East
Side and New Jersey, she has remarked to Birdie: "The doctor
finally found the cause of Ina's bursitis . . . her charm bracelets
were too heavy." One bit with Ceil went, "Ceil, are you sitting
down? . . . Are you near water? ... I got something to tell
you. . . . My sister-in-law is getting married. . . . She met him
in group therapy. . . . What ails him? . . . Who cares what ails
him, just so long as he never gets over it?"

Then there was the day that Warren, unbeknownst to her,
had suffered a hot-foot — and was still suffering. Happily, she
calls out: "Daddy's on the phone . . . come here, children, talk
to Daddy." Abruptly, her tone changes: "You don't want to
talk to the children? . . . Warren, why are you so hostile?" In
shocked surprise, she echoes: "They lighted your shoe? . . . Oh."
For a moment the silence is heavy, but she finds an explanation:
"Warren, they were just saying, 'Daddy, we love you.' " An
edge comes into her voice: "Warren, have you thought it could
be your fault? . . . Maybe they wanted more attention. Maybe
they thought a daddy with a sick foot wouldn't go bowling

Telephone Talk Artist

"Hello" is the sweetest word in the English language to
Betty Walker, whose hilarious talkathons in New Yorkese
panic the customers over ABC Radio's Flair

HELEN
BOLSTAD

tonight . . . wouldn't go coach Little League ... wouldn't go
to Fire Department practice . . ." Her indignation mounts:
"Warren, my children are orphans of your civic mind. . . ."
Then the tables are turned. Her loud "Ouch!" is followed by a
wail: "Children, why did you light Mommy's foot?"

A listener's feeling of eavesdropping is not coincidental. Betty
herself is a champion eavesdropper. "You'd be surprised how
many great lines you can pick up on a bus or subway." Her
family is another source. "We have a brothers-and-sisters
meeting every few months. By now, they recognize the look
in my eye when I hear an interesting phrase. Someone is
bound to say, 'I suppose you're going to use that.' I laugh —
and reach for a scrap of paper."

Those scraps are duly deposited in a brightly decorated letter
box on Betty's desk. She says, "I make notes on anything I can
find — the back of a sales slip, an envelope, a bit of wrapping
paper. As soon as I empty my purse, there's the material for
my next radio bit. It's easy to be (Continued on page 62)

Flair, ABC Radio's big daytime feature service, is heard M-F on local
stations throughout the country; check newspapers for time in your area.

■ Strawberry blonde Betty Walker's bright, two-minute spots
on the big ABC Radio feature, Flair, are billed as fiction and
comedy— but give listeners the feeling of eavesdropping on
real life. The telephone is Betty's medium and her one-sided
conversations with an imaginary husband, Warren, and her girl
friends, Ceil and Birdie, are masterpieces of timing.

In an accent which is a blend of Bronx, Brooklyn, Lower East
Side and New Jersey, she has remarked to Birdie: "The doctor
finally found the cause of Ina's bursitis ... her charm bracelets
were too heavy." One bit with Ceil went, "Ceil, are you sitting
down? . . . Are you near water? ... I got something to tell
you. . . . My sister-in-law is getting married. . . . She met him
in group therapy. . . . What ails him? . . . Who cares what ails
him, just so long as he never gets over it?"

Then there was the day that Warren, unbeknownst to her,
had suffered a hot-foot — and was still suffering. Happily, she
calls out: "Daddy's on the phone . . . come here, children, talk
to Daddy." Abruptly, her tone changes: "You don't want to
talk to the children? . . . Warren, why are you so hostile?" In
shocked surprise, she echoes: "They lighted your shoe? . . . Oh."
For a moment the silence is heavy, but she finds an explanation:
"Warren, they were just saying, 'Daddy, we love you.'" An
edge comes into her voice: "Warren, have you thought it could
be your fault? . . . Maybe they wanted more attention. Maybe
they thought a daddy with a sick foot wouldn't go bowling

Telephone Talk Artist

by
HELEN

BOLSTAD

"Hello" is the sweetest word in the English language to
Betty Walker, whose hilarious talkathons in New Yorkese
panic the customers over ABC Radio's Flair

tonFi™ n ' W!UUn4't g° C°ach Little Lea^e ■ ■ ■ wouldn't go
to * ire Department practice " H».. \~ji~- *■ 8

"Warren mv nhi\A,S Y ' . lndl8nation mounts:

wail: "Children why did you hg„?Mommy's toff™* * *
A listener s feeling of eavesdropping is not coincidental Bettv
herself 1S a champion eavesdropper "V™,'n , . y

many great lines you can Sk up on I h„ S?"^ how

family is anothe. source. ? "We X ve a b Jb T ^

meeting every few months r„ „ .u blothers-and-sisters
in my'eye w'hen I heaf an LSZli^^T ** look
bound to say, 'I suppose v™,'» f phrase' So">eone is

and reach £ a sci^f J££. g°mg t0 USe **' * laugh-

*^Z$:Z?Z^^^y «« letter
find-the back of a sales shn .„ ' , °teS °n ^hing I can
paper. As soon as I emptf^^rfc.8 J** °f W*
my next radio bit. It's easv to hJ ,r * ** mate»al for
easV to be (Continued on page 62)

Flair, ABC Radio's bie davtim„ f „.

DEAN
MARTIN

The
Father

Behind

The

Playboy

Mellow charm is the

keynote of Dean's public image.

Is it true? Or is it

instead — as his wife insists —

a calculated build-up

of "the Martin Myth"?

by KENDIS ROCHLEN

■ Dean Martin, the story goes, doesn't drink anymore. The
story, of course, is Dean's. He's quite proud of it. In fact, he
frequently recites it. "I don't drink anymore," he announces
earnestly. He pauses maybe a whole second, then reaches for
his glass and takes a generous swig. The straight face gives
way to a roguish grin. "I don't drink any more ... but I don't
drink any less, either."

It's a good routine. It goes over great with Dean's night-club
audiences, as do his numerous other quips about quaffing. Of
course, when he's appearing on the more restrictive medium
of television, Martin waters down the booze bit considerably.
But, even if his material is strictly on the wagon, somehow the
public image remains the same.

His boldfaced banter about the bottle has led many to be-
lieve that the mellow charm which marks every Martin per-
formance, be it on the sound stage or the golf course, is some-
thing that's 100 proof. For some reason — which probably a
high-priced psychiatrist could explain — Dean's reputation as a
devotee of Bacchus has only served to further endear him to
his fans. They laugh it up at the idea of Old Dino lapping it up.

It's all part of what Dean's wife Jeanne refers to as "the
Martin Myth" — not without some concern and annoyance. "I
wish he wouldn't act the alcoholic so often and so convincingly,
particularly when he's on television," she says, making it clear
she's had enough mythology. She feels it's time to separate facts
from fiction. Her husband professes a lack of concern with
either. He flashes that ingratiating smile and shrugs. But he
doesn't expect anyone with a grain of intelligence to be com-
pletely taken in. As for those who do swallow the Martin Myth,
hook, line and sinker, Dean takes the attitude that that's
their problem.

According to Webster, a myth is "a legend, a traditional
story, often founded on some fact of nature." And so it is in
Dean's case. He's the first to admit that there was a time, some
twelve years ago, when he might have been labeled as some-
thing of a tosspot. Today he exercises moderation. In a way,
Dean is telling the truth with that joke about not drinking
"any more." The fact is, he doesn't drink any more than the
average sophisticated adult. And he drinks considerably less than
any number of his Hollywood colleagues — or others around the
country, for that matter.

There's little likelihood that Dino will ever switch to straight
sarsaparilla. Nor is he about to pretend that he has. Dean may
have only two or three drinks at a party — but, unlike many a
star, he doesn't hide his glass the minute a photographer ap-
pears. And nobody can look as bleary-eyed in a candid shot as
the smiling Mr. Martin. Dean himself once remarked that, when
he looks at himself in the mirror in the morning, he'd swear
he was drunk, if he didn't know he was cold sober.

One of Martin's close friends recently came up with an
interesting observation. "When you (Continued on page 58)

;

Blonde wife Jeanne says the elbow-bending gag gives a false
picture of a devoted family man. She adds that the biggest
beverage order in their household of seven children — Craig, 19;
Claudia, 16; Gail, 15; Dena, 13; Dean Jr., 10; Ricci, 8; Sina,
almost 5 — is really 78 quarts of milk each week! But, characteristi-
cally, Dean himself can get a laughline out of that subject, too.

■ "Sometimes I feel like a caveman —
like someone lost and completely out of
place in this 20th-century society and
civilization. Some of my ideas, my phi-
losophies, are all wrong for the world
I live in. I feel that I was born 5,000
years too late."

As George Maharis speaks, his virile
voice and the determination emphasiz-
ing his words combine to wash away,
for a fleeting moment, the reality of
present surroundings. The restaurant
seems to vanish as George melts into
the role he plays on Route 66. . . his
partner beside him, their Corvette
piled high with personal belongings,
the adventurous Buz laughs as he
speeds down the highway . . .

The carefree laugh echoes through
the restaurant, prompting the random
thought: Is George play-acting now,
too — attempting to carry his TV char-
acter over into real lije? The answer,
for anyone who really knows him, is
that there is actually no noticeable
division between the two lives of
George Maharis.

George is Buz Murdock, the free-
dom-seeking, femme-fascinated nomad
of Route 66. He has always been a Buz
Murdock. George was not picked for
a role already written. The role was
created for him. And — since most of
his TV adventures are filmed on actual
location, from coast to coast — it has
made him one of those few men for-
tunate enough to make money while
doing what he loves best. "I love to
roam," he says, with the intensity
that marks his every action. "I have
to roam. I have, ever since I was a
kid. Perhaps that's why I've always
had trouble conforming. I have to be
free. Maybe, too, that's why I've never
married. If I could be free to roam
after marriage, I think I would settle
down." Realizing the fantasy of such
a contradiction, George Maharis smiles
and shrugs.

"I've come close to getting married
three times, but each time something
has happened to keep me single. One
girl's mother (Continued on page 77)

George Maharis, modern-day rebel,
explains why he feels he was

BORN
5,000

YEARS
TOO LATE

by MARILYN BECK

George Marians co-stars in Route 66, as seen on CBS-TV, Fri., from 8:30 to 9:30 P.M. EST, sponsored by Chevrolet Motor Division of
General Motors, Philip Morris, Inc. (Marlboro Cigarettes), and Glenbrook Laboratories.

Getting into the swim of things while on a location shooting

stay in sun-drenched Florida— the fabulous five who star in SurfSide 6

Surf Side ©

TAKES OVER MIAMI BEACH

■ Even under ordinary circumstances, Miami
Beach, Florida, boasts a flock of celebrities try-
ing to spend money under the benign influence
of the Southern sun. But last summer, for over a
week, the town Was in a tizzy. Not only the Miss
Universe Beauty Pageant contestants but the
five major cast members of SurfSide 6 were
decorating the local scene! Troy Donahue, the
handsome topliner of the TV show, was on hand
to act as one of the judges of the beauty contest,

Opposite page (I. to r.): Lee Patterson, Diane McBain,

Van Williams, Margarita Sierra and Troy Donahue. Below, with

series' drama coach (at left). Plan was to use colorful

setting of Miss Universe Beauty Pageant in Miami Beach on TV.

Troy Donahue was one of judges selecting

Miss U.S.A. (at top). Above, Marlene

Schmidt of Germany, new Miss Universe.

Diane McBain arrived cool and serene, despite her
recent load of TV and movie assignments.

SurfSide

(Continued)

and, while he worked at this agreeable task,
the rest of the SurfSide 6 crew did background
film for this season's episodes, much to the de-
light of the local citizenry.

As all fans of SurfSide 6 know, the series
opened its second successful season early in
the fall — centering its action around a dashing
trio of private detectives who have crime on
their minds, but also women. And to add an
extra dash of spice — for the boys — the show
also stars blonde beauty Diane McBain and
Latin bombshell Margarita Sierra. They're a
cosmopolitan bunch: Troy Donahue, New York-
er; Van Williams, Texan; Lee Patterson, Ca-
nadian; Diane McBain, Calif ornian; Margarita
Sierra, Madrid-born, but discovered for the
series while belting out songs in New York City.
So, if anyone hustles up to ask you what the
formula for a successful TV series is, just say:
"Put three handsome young men on a glamour-
ous houseboat, mix with a goodly portion of
lovely women, add a dash of adventure — and
you have a hit show." Oh, yes, you might add:
"Set the action in a fast-moving resort city like
Miami Beach. You can't miss!"

SurfSide 6 is now being seen over ABC-TV on Mondays,
from 9 to 10 P.M. EST, under multiple sponsorship.

Crew members record familiar SurfSide back-
drop— the Miami skyline — for future shows.

The end of an exhausting day! Not for curious fans,
though, who flock to the well-known houseboat.

Greeting fans and giving with the autographs, Diane takes time
out from shooting to enjoy the famed Florida sun.

. , ■ '

Just before cameras roll, Margarita Sierra
gets final "A-OKay" from production.

Chance meeting with Troy results in
a souvenir pic for three thrilled fans.

All is not play for SurfSide "playboys."
Learning lines is a serious business.

Final hair-do checks are must for both
Diane and Margarita before shooting.

■nnnnnnr

Diane McBain arrived cool and serene, despite her
recent load of TV and movie assignments.

The end of an exhausting day! Not for curious fans,
though, who flock to the well-known houseboat.

Surf Side O

(Continued)

and, while he worked at this agreeable task
the rest of the Surf Side 6 crew did background
film for this season's episodes, much to the de-
light of the local citizenry.

As all fans of SurfSide 6 know, the series
opened its second successful season early in
the fall-centering its action around a dashing
trio of private detectives who have crime on
their minds, but also women. And to add an
extra dash of spice— for the boys— the show
also stars blonde beauty Diane McBain and
Latin bombshell Margarita Sierra. They re a
cosmopolitan bunch: Troy Donahue, New York-
er; Van Williams, Texan; Lee Patterson, Ca-
nadian; Diane McBain, Californian; Margarita
Sierra, Madrid-born, but discovered for the
series while belting out songs in New York City.
So, if anyone hustles up to ask you what the
formula for a successful TV series is, just say:
"Put three handsome young men on a glamour-
ous houseboat, mix with a goodly portion of
lovely women, add a dash of adventure — and
you have a hit show." Oh, yes, you might add:
"Set the action in a fast-moving resort city like
Miami Beach. You can't miss!"

SurfSide 6 is now being seen over ABC-TV on Mondays,
from 9 to 10 P.M. EST, under multiple sponsorship.

Crew members record familiar SurfSide back-
drop— the Miami skyline — for future shows.

Greeting fans and giving with the autographs, Diane takes time
out from shooting to enjoy the famed Florida sun.

Just before cameras roll, Margarita Sierra
gets final "A-OKay" from production.

Chance meeting with Troy results in
a souvenir pic for three thrilled fans.

Ad is not play for SurfSide "playboys."
Learning lines is a serious business.

Final hair-do checks are must for both
Diane and Margarita before shooting.

Robert Young takes a look at
a completely new character role
from his vantage point behind a

®w®m

Window On Main Street is seen over CBS-TV, Monday, 8:30 P.M
EST, as sponsored by Scott Paper Company and The Toni Company

"Widower" novelist on TV (left), Bob's
been happily wed to Betty (above) for 28 years.

Writer seeks stories in old hometown —
finds one in a "chambermaid" (Mary Adams)

John Lupton, Constance Moore, Young. Connie is TV "widow."

by BILL KELSAY

It's kind of funny and it's fascinating to create a person who doesn't exist" Robert
Young is plainly intrigued with Cameron Brooks, his new TV role in Window On Main
Street. He's still getting acquainted with this new character, this novelist who has re-
turned to his hometown to write a book about its people. After ten years, Bob is thoroughly
familiar with Jim Anderson of Father Knows Best — to whom he now refers as "the other
fellow" — but Cam Brooks is still a comparative stranger.

"You can make him any way you want," Bob says. "You can give him a tic, you can make
him irresponsible. The other fellow had to have his feet on the ground. This fellow is more of
a romanticist. We've deliberately made him a more complex character than the other one.
He can blow hot and cold, he can be very excited and then become very depressed. You
may even get a little impatient with him. But, if you do, it will engender more interest in
him as a person."

Cameron Brooks and Window On Main Street are the result of three men "just sitting
around" four months and talking. "I wish we had kept a record of (Continued on page 80)

Robert Young takes a look at
a completely new character role
from his vantage point behind a

WfiM®w ®m

Writer seelts stories in old hometown —
finds one in o "chamber-moid" (Mary Adams).

John Lupton, Constance Moore, Young. Connie is TV "widow."

Window On Main Street is seen over CBS-TV. Monday, 8:30 P.M
EST, as sponsored by Scoll Paper Company and The Toni Company!

U l "W'dower" novelist on TV (left), Bob's
been happily wed to Betty (above) for 28 years.

by BILL KELSAY

It's kind of funny and it's fascinating to create a person who doesn't exist" Robert
Young is plainly intrigued with Cameron Brooks, his new TV role in Window On Main
Street. He's still getting acquainted with this new character, this novelist who has re-
turned to his hometown to write a book about its people. After ten years, Bob is thoroughly
familiar with Jim Anderson of Father Knows Best— to whom he now refers as "the other
fellow"— but Cam Brooks is still a comparative stranger.

'can^erorBrooks and Window On Main Street are the result of three men "just sitting
around" four months and talking. "I wish we had kept a record of (Continued on page 80)

****-%

HELL
BREAKS

■ -.';'

LOOSI

LOCATION

by BEATRICE EMMONS

■ "A feud? They say it was a regular donnybrook!
Steve McQueen and Bobby Darin trading snarls
and dirty looks — maybe a couple of punches, too —
then Nick Adams getting the rough side of the
tongue from both parties. I tell you, I got it straight
from one of the extras. Talk about bad blood
among the movie stars! Sinatra-and-Duke-Wayne
was pink tea compared with McQueen-and-Darin.
It's the feud of the year."

The above is an actual quote, and it sums up one
of the hottest rumors making the rounds of Holly-
wood. It has appeared in certain columns in various
parts of the country. And, by now, it has been
magnified and distorted to the point where a few
simple facts have taken on the look of mayhem

H»

The Darin-

and attempted murder. What are the few grains
of meat in this goulash of hearsay, guesswork and
falsification? Checked out carefully, they boil down
to this:

They were shooting a war picture, "Hell Is For
Heroes," on the Price Ranch in Cottonwood, some
twenty miles from Redding in northern California.
It doesn't just get hot up there — the mercury hits
115 degrees. The scene was supposed to be near
the Siegfried Line in Germany, December, 1944,
and the special-effects department had gone all-
out, with every gimmick in the book, to make it
authentic . . scorched earth, shell craters, trees
black with smoke and flame ... a stark, frighten-
ing fragment of war's horror. With the sun blazing

-*^*£:-

McQueen-

Adams

battle of temperaments

overhead, director Don Siegel calls for action.
Steve McQueen, Bobby Darin, Nick Adams, Fess
Parker and Bob Newhart get into place. The action
starts, the cameras begin grinding — then every-
thing halts.

Perspiration is streaming down each actor's face.
The makeup men mop up. Siegel says, "Let's try
again." The cameras roll, but it's the same story.
They go at it four times before Siegel is satisfied
and yells, "Cut and print!"

Immediately, McQueen — soaked to the bone —
whirls and darts for his portable dressing room
without a word to anyone. At almost the exact
instant, Bobby Darin rushes for a shady spot
where his wife, Sandra Dee, is waiting. The other

actors, swabbing their faces and necks with ker-
chiefs, scatter for shade and a shower.

This much is true. These are the facts. The rest
is built up of "maybes," "ifs" and "might haves."
It is typical of the way such rumors get off the
ground and blow up into cyclones of scandal and
legend. For that reason, it's worth exploring the
alleged feud between singing sensation Darin and
Wanted — Dead Or Alive McQueen.

First of all, why do people jump to such con-
clusions on the basis of such meager evidence?
In this instance, there were two jumping-off points.
You can call them "character" and "external cir-
cumstances." The external circumstances are sim-
ply the heat that turned (Continued on page 70)

The Brighter Day: Blair Davies
plays Rev. Richard Dennis; Dean
Harens is Dr. Fuller; and June
Dayton — Dean's wife — is Patsy.

Mr. and Mrs. at home — dogs are only two of
the surprises Fate has handed Dean and June.

That romance

shooting off sparks on The Brighter Day
comes naturally. The two loving
participants are really man and wife!

by FREDDA BALLING

• Millions have watched, on TV's The Brighter
Day, as the electricity sparked between the story's
biochemist, Dr. Charles Fuller, and his laboratory
assistant, Patsy Hamilton. Many, perhaps, knew that
Dr. Fuller was being played by Dean Harens,
and that Patsy was given flesh and blood by June
Dayton. But only a few viewers realized that
Miss Dayton was also Mrs. Harens, in private life.

This happy casting was accidental. When the
writer decided to bring Patsy Hamilton back into
the story, June — voted perfect for the role — was
signed at once. Next problem: Choosing Dr. Fuller.

The casting director saw dozens of prospects,
then announced to the program's director and
producer: "The best bet is a handsome guy named
Dean Harens." The brass — knowing that Dean
was half of TV's version of (Continued on page 71)

The Brighter Day is seen over CBS-TV, Monday through Fri-
day, from 4 to 4:15 P.M. EST, under multiple sponsorship.

"When I said I'd do anything for my owner,
Rudd Weatherwax," says Lassie, "I really didn't think
I'd end up playing a girl!" The show has undergone
many cast changes, but Lassie just goes barking along.

Bushy, brown-haired "Coco" joins Donna Reed Show

as they start their fourth season. He resembles a

lion, but the cast insists he's gentle as a lamb.

Enoch, Candy and Charlie got their big break on a

Jack Benny show — now they star in The Hathaways, with Peggy Cass

and Jack Weston. It adds up to plenty of "monkey business."

"Pure Mongrel" Jasper II joined
John Forsythe, Noreen Corcoran, and
Sammee tong in Bachelor Father when
Jasper I (no kin) retired last year. The
shaggy dog loves to regale his canine
friends with "slick human" jokes.

■^

New
Hair-do

by JUNE CLARK

■ Maybe all you need to put you in a happy holiday mood
is a new hair-do. Something to make you feel
completely different. To bring out a New You — a more
glamorous girl than you have been seeing in your mirror.
... It happened to Connie Francis. And it was almost
as exciting as having those eight gold records. (There's
a potential new one now — "Hollywood" with "Dreamboat"
on the reverse side, plus two new albums: "Never On
Sunday and Title Songs from Motion Pictures" and
"Folk Song Favorites.") ... "I don't know why I waited
so long to change my hair," Connie says. "The way
I wore it wasn't significant or different. It was just
a plain old hair-do. Too curly and too flat to my face."
(See small picture below.) . . . Her new arrangement
gets its name, The Flip, because both sides can be
flipped up. (As Connie wears it on the facing page.)
Or presto! one side can be nipped up and back, and the
other forward in one curling sweep toward the face.
"Mostly I wear it flipped upon both sides, but it's fun to
change about" . . . Her bangs are fun, too. Not cut in
a sharp line, but cute and careless. On and off camera,
the new hair-do makes Connie's face look slimmer,
her brown hair smoother, her dark eyes more sparkly.
It even makes her look taller than her five-foot-one. . . .
It was originally designed especially for her by a
New York hair stylist, but Connie takes care of it herself
when she is on the road doing night clubs and personal
appearances. On home ground, she goes to the
hairdresser every other day. "You walk out of a beauty
salon feeling so pretty," she says. She has about three
shampoos a week, a lanolin hair- conditioning treatment
every two weeks. She sets her hair with beer. It helps
if a girl learns how to take care of her own hair
at least part of the time. But, if possible, it should be
professionally styled. And a style like Connie's needs a
soft permanent, either home or salon, for body. . . .
Teasing the hair is important, but Connie had her
hairdresser show her the right way. All these short-cuts
were a big help when she was vacationing in Europe
this fall after her big September special on ABC-TV.
She started some of the scenes in Paris for her new
movie, a comedy in which she will sing several songs . . .
and, who knows? — maybe come up with another
new Connie Francis hair-do as becoming as this!

It's called The Flip — and it's as

gay and changeable as the name suggests.

And it proved to Connie Francis that

every girl's face needs a special frame!

Good planning makes time for home cooking
— even baking a birthday cake for daughter Joan
in the midst of a busy schedule. Billie
Lou has also mended her own children's clothes
on-camera, in her role as Maggie Weaver!

Billie Lou Watt, a

regular on From These Roots,

explains why she finds

her life as actress-mother

not only easy to take

but easy to do

by FRANCES K1SH

■ Unlike some actresses, Billie Lou Watt has
never let her life become divided into compart-
ments. There isn't one compartment in which
she is Maggie Weaver of TV's From These
Roots . . . another in which she is the wife of
actor -producer Hal Studer ... a third in which
she is the busy mother of three. "Everything
has always worked together," she says. "Acting
has just seemed to take its place in my life
along with home and family."

Billie Lou is her real name. "A good name
when I was playing teen-age girls — but I was
sure somebody would try to change it when I
grew up into more glamorous roles! We've given
our children plain, solid names that can't con-
fuse anyone." John Watt Studer is fifteen;
Michael, eleven; and Joan, nine.

They all live in an old colonial house on a
tree-lined street on Long Island. "The house in
which Maggie lives on the show is also an old
house, furnished not too unlike the one I go to
every night. So I feel at home both places."
There are evidences of children everywhere. In
winter, sleds and skates. In summer, tennis
rackets and baseballs.

"For the past six years, most of our summers
have been spent with the Little League," she
says. "First with John, now with Mike. No
matter how busy I've been professionally, I
always manage somehow to get out to the field.
Even Joan would be in Little League, if they
would let her." As it is, Joan studies dancing,
and all three children take piano lessons.

Billie Lou herself began ballet classes early,
in St. Louis, Missouri, where she was born.

When she was twelve, MGM was casting a
screen version of "Tom Sawyer." Talent scouts
came to St. Louis, and Billie Lou was tested for
the key role of Becky Thatcher.

"I didn't get it. But, after that, I knew I
wanted to be an actress. I went into the Little
Theater and played all the little-girl parts." She
also began to do children's roles for the Munici-
pal Opera, and acting fitted smoothly into her
school life.

When she went on to Northwestern Univer-
sity, in Illinois, she didn't guess fate had or-
dained she would meet her future husband
there. Hal was a fellow drama -and-speech stu-
dent, and it seemed to be love at first sight for
both — even though he laughed all through her
first try at public speaking! "He told me after-
ward that he thought I was so cute. He liked
the fact that I wasn't too sure of myself."

World War II cut into Hal's college career and
their dating. He went into the Army for three
years, she continued in school, later left to play
Corliss Archer in "Kiss and Tell," her first big
stage role. The show ran to record audiences in
Chicago for nine months, then she toured for
another three.

During the Chicago run, she and Hal became
formally engaged. In Maryland, at the end of
Billie Lou's tour, Hal — due for discharge in a
few months — came home on leave and they were
married. Their first apartment was in New
York's Greenwich Village. "A fantastic apart-
ment with a fantastically nice landlord. His
wife gave me enough cooking utensils to get
started, and passed along enough cooking lore

Husband Hal Studer is a top actor, too — but Joan, Michael and John (left to right)

are quite blase about their parents' show-business status. The only time they were "impressed" was when

they had the real, live star of a local children's TV show as guest in their own home.

Continued

Good planning makes time for home cooking
— even baking a birthday cake for daughter Joan
in the midst of a busy schedule. Billie
Lou has also mended her own children's clothes
on-comera, in her role as Maggie Weaver!

Billie Lou Watt, a

regular on From These Roots,

explains why she finds

her life as actress-mother

not only easy to take

but easy to do

by FKAN< ES KIS1I

■ Unlike some actresses, Billie Lou Watt has
never let her life become divided into compart-
ments. There isn't one compartment in which
she is Maggie Weaver of TV's From These
Roots , . . another in which she is the wife of
actor-producer Hal Studer ... a third in which
she is the busy mother of three. "Everything
has always worked together," she says. "Acting
has just seemed to take its place in my life
along with home and family."

Billie Lou herself began ballet classes early,
in St Louis, Missouri, where she was born.

When she was twelve, MGM was casting a
screen version of "Tom Sawyer." Talent scouts
came to St. Louis, and Billie Lou was tested for
the key role of Becky Thatcher.

During the Chicago run, she and Hal became
formally engaged. In Maryland, at the end of
Billie Lou's tour, Hal— due for discharge in a
few months— came home on leave and they were
married. Their first apartment was in New
York's Greenwich Village. "A fantastic apart-
ment with a fantastically nice landlord. His
wife gave me enough cooking utensils to get
started, and passed along enough cooking lore

Husband Hal Studer is a top actor, too— but Joan, Michael and John (left to right)

., ,. t i \ 1 • «,-+,' <l,„w harness status. The only time they were impressed was when

,re quite blase ^^^^^^^J^^ children's TV show as guest Tn their own home.

C+mtlmmed

Billie Lou and Hal are awed by son John's

chemistry experiments. "Mama", studied ballet in

St. Louis, still practices with Joan — but

admits they're both more interested in baseball.

Billie Lou is Maggie Weaver in From These Roots — produced
by Eugene Burr and directed by Paul Lammers — over NBC-TV,
M-F, from 3:30 to 4 P.M. EST, under multiple sponsorship.

so I could keep Hal well fed. I had to keep
myself well fed, also — because, by now, I was
four months' pregnant and eating for two."

On the day John was born, Hal got his first
contract role on NBC Radio. "Now we could
afford the baby," she says. A little later, she
got a part in a show called "The Legend of
Lou." After it was all set, her agent said cas-
ually, "Of course, you play the piano. I told
them you could." Billie Lou couldn't! But she
had to learn one piece, because the plot re-
quired her playing the piano.

"I left the baby with a sitter, so I could
practice on a friend's piano. By sheer concen-
tration, I learned 'The Sheik of Araby.' They
said my playing was okay, but they didn't like
that piece — could I play something else? So I
spent two more weeks learning 'Deep Purple.'
After all that work, the minute I sat down at
the piano, my mother in the play took over
stage-center and began to do a sort of strip-
tease. It wouldn't have made much difference
whether I hit wrong notes or not!"

Hal has had a dramatic club for children at
their church, and at one time they both had a
children's theater. Both have done a great
deal of work in radio and television. Hal did
a stint on From These Roots as Ahmed, the
Pakistani houseboy,and is currently involved
in the production of an off-Broadway play.
"In Wendy Warren" Billie Lou recalls, "I ap-
peared with Rod Hendrickson, who later on
played Ben Fraser in From These Roots."

Her present role as Maggie Weaver came
unexpectedly. The casting director of an
agency, for whom she was doing a commercial,
said: "You have a little girl, haven't you?
Would you like to bring her in to audition?"
The Struders had no idea of urging their chil-
dren into acting, but decided to let Joan try
out at least that once.

Back at the agency, Billie Lou ran into Don
Wallace, then producer of From These Roots.
(Eugene Burr is the present producer). "I
should have thought of you right away," he
said. "I think you are just right for one of the
parts in the show."

"Joan didn't get the commercial," she says.
"She got to go to the circus instead and that
was more thrilling. And I got the role of a
woman toward whom I feel extremely sym-
pathetic, in a story that is continuously inter-
esting. Our mail is so exciting! It shows such
appreciation for the way we present the story
of 'adoptive' parents."

Billie Lou feels fortunate in having a lovely
grandmother-sitter when she's away from the
house. "Living so far from their own grand-
parents, who are still in the Midwest, we like
having a 'substitute grandma.' " Sometimes
the combination-of-home-and-actress routine
takes a little ingenuity. But Billie Lou man-
ages it all and — thanks to luck, good will and
good planning — "everything always works to-
gether!"

SPECIAL MIDWEST STORIES

Ryan shares Morning Shoiv
duties with Ed Kallay and
Julie Shaw (below with Ryan).

MORNING
OUTLOOK

. . . on news, weather, and interesting people is
provided by WAVE-TV's versatile Ryan Halloran

Each weekday morning, WAVE-TV in Louisville, Ken-
tucky, invites viewers to stay fit and keep informed
on the day's latest developments with The Morning Show.
Handling the news, weather and interview portion of
the show is a versatile native of Minnesota — Ryan Hal-
loran. Besides his varied duties on The Morning Show,
Ryan also does the 11:10 p.m. weather report on TV, and
Mostly Music on WAVE Radio. . . . Ryan's broadcasting
career began when he won an announcing contest at
KWNO, in Winona, Minnesota— and it almost ended a
few weeks later! This is the way Ryan tells it: "A few
weeks after I began my announcing job, I was told I
would be fired because of lack of talent. Then, two other
men at the station got other jobs, and suddenly my
services became indispensable." There's no doubt that
Ryan's services have become so since then, too. He is now
an experienced newscaster, interviewer, weatherman,

deejay and children's programs host. . . . Ryan's only
problem with his work is one shared by many — too much
to do and too little time to do it in. Says he, "Due to my
crowded schedule, I suppose I'm 25% asleep 75% of the
time. Viewers seem to assume this semi-conscious state
to be relaxation and informal ease, so everyone is hap-
py." . . . Among those Ryan keeps happy are his pretty
wife Louise and five little Hallorans — Ryan, 15; Mike, 13;
Louise, 10; Shannon, 8; and Paul, 2. They all live in a
white brick colonial house frequently visited by (says
Ryan) "police car, fire truck, or pediatrician" . . . since
the five small Hallorans, with attendant pets, seem to have
a penchant for "getting into and out of (or failing to get
into or out of) various cages, closets, boxes, etc." ... "I
like fishing, football and photography," says Ryan, "but
my hobby seems to be finding time to enjoy them!"
The poser is — where does Ryan find time to sleep and eat?

The Doll of Cartoon Alley

Versatile Barbara also sings the weather report twice
daily. Off camera, she swims, golfs, collects clowns.

Singing Barb Becker of WITl -TV-
loved by children and puppets alike.

When, about a year ago, Barbara Becker
opened her 6 p.m. show with a song, weather
fans may have been startled. It soon became
apparent, however, that this was no ordinary
gimmick — here was a gal who could really sing. . . .
Since then, Barbara, who started out as a straight
"Weather Gal" at WITI-TV in Milwaukee, has
branched out even further. She still does the weather
every day, at noon, and at 10: 10 p.m. as part of
The Late Show, but she has gained even more fans
— and in a new age bracket — with her six-times-
a-week appearance on Cartoon Alley, shown M-F
at 5 p.m. and Saturdays at 9 a.m. . . . Barbara,
the only human to appear on-camera on the
Alley show, plays the role of secretary to "Albeit
the Alley Cat," a moocher and grifter who
dominates his gang of animal friends. The animals,
of course, are puppets. . . . Barb's part in the show
is to provide a human foil for Albert and the other
characters . . . and she helps them with their
problems, sings songs with and to them, and builds
a tremendous following of kids. Mail pull on the
show has run better than a thousand a week since
it took to the air last March. . . . Actually, Barbara
started as a weather girl almost by accident. She
had been on the club circuit for a couple of years,
touring as a vocalist with some of the name bands
in the country. Milwaukee is "home," so she
stopped on her way from Las Vegas to New York
to visit her parents. She heard WITI-TV was
looking for a weather girl, auditioned, and grabbed
the job. . . . Born in Clinton, Iowa, Barbara
moved to Milwaukee as a teenager. She started
singing in high school, and did three local TV shows
a week. She studied speech at Marycrest College
in Davenport, then enrolled in the Pasadena
Playhouse. Soon she was wrapped up in school
work, TV shows, and singing with Les Brown's
band at the Palladium. . . . On another "happen-
stance" visit to Milwaukee, she heard Wayne King
was looking for a vocalist. He wanted a blonde
soprano, and Barbara, whose hair is a fiery red, was
neither. But, again, she auditioned for the job
and got it. During the next four years, she toured
the United States, Canada, and South America
with the waltz king's orchestra. . . . When King
went into semi-retirement, Barbara went on to
become an NBC-TV "color girl." Her trail led to
the club circuit and WITI-TV. . . . Bachelor Barb
now lives with her parents in a rambling River
Hills house complete with swimming pool, barbecue
pit and five acres of grounds. The set-up is ideal
for pursuing her four main interests — work, family,
swimming and golf. . . . She also spends a good deal
of time tracking down clowns and her collection of
these — in forms of dolls, glassware and paintings —
has reached 187. Doll Barbara seems to have
found the perfect career for her tastes and talents.

It's A Young People's World

. as four Taft TV stations answer the "whys" on daily children's news programs

Using o football, Birmingham's Pat explains rocketry and space.

Chuck Nuzum, Pat Ritter host Youiif/ People's World in Columbus.

It's children who are making the head-
lines these days! At least, on Taft tele-
vision stations in four cities which recently
launched a unique concept of reporting and
interpreting news for the "younger set," from
the beginning school years through the early
teens. These Young People's World pro-
grams were initiated in Cincinnati and Co-
lumbus, Ohio; Birmingham, Alabama; and
Lexington, Kentucky. . . . Format of the
show in each city follows a basic pattern —
five minutes in early morning and/or eve-
ning time with a well-known children's per-
sonality presenting the news, accenting at
least one important timely subject in the
day's happenings. The presentations are pur-
posely short, because the attention span of
a child is limited and easily taxed. . . . The
show for youngsters — who had never before
been exposed, on a mass basis, to news media
geared especially for them — is psychologi-
cally planned in each city to take into con-
sideration the emotional impact on chil-
dren's minds and reactions. It deliberately
skirts news stories of violence and, instead,
proposes to explain the "why" of news hap-
penings, create interest, imagination and
conservative response on the part of chil-
dren. . . . The Taft philosophy: "We feel it
is more important to explain the 'why' of an
event than the 'who' or 'what.' For example,
every child knows that Commander Alan
Shepard is our first Astronaut. Most of them
know what an Astronaut is; a great many are
equally familiar with how he gets wherever
he is headed; but, relatively few, if any,
know why he wants to go there. This is
where our program comes in." ... At WKRC-
TV, Cincinnati, "Skipper" Glenn Ryle pre-
sents Young People's World daily in a five-
minute segment within his weekday 5 to
6 p.m. show. Ryle already has been present-
ing News For Youth within his regular Sun-
day Skipper Ryle program for more than a
year. ... On WBRC-TV, in Birmingham,
Pat Gray is the commentator for Young
People's World, heard daily at 4: 25 p.m. . . .
In Columbus, a newscast is presented twice
daily on WTVN-TV: Every morning at 8:55,
by Mrs. Pat Ritter, hostess of Janey's Jingles;
and in the late afternoon, at 4:25, by Chuck
Nuzum, whose puppet and cartoon show,

Architect Robert McMeekin brings his hobby — the animal world — to life on WKYT, Lexington, Ky.

Casper's Capers, has been on the air for
several years. . . . Lexington, Kentucky's
Young People's World is incorporated into
the Windy And Popeye program at 5:45 p.m.
on WKYT. . . . Each of these TV personali-
ties relies on visual means of explanation as
the more important aspect of each presenta-
tion. The commentators draw from a vast
supply of Encyclopaedia Britannica films on
nature, personalities, the elements, history
and geography to tell their stories graphi-
cally. . . . Emphasis is also given to news of
juvenile exploits and achievements, and to
sidelights of hard news to reflect the juve-
nile aspect, such as the child refugees of
Cuba and Berlin. Wherever possible, juve-
niles involved in news happenings may ap-
pear as guests on the programs, such as a
child involved in a humanitarian incident
or for achievements in youth activities. . . .
Adult interviews with personalities who
can shed light on news stories are frequently
used to lend change of pace and interest to
the program format. At the Cincinnati sta-
tion— to create active, responsive interest on
the part of viewers — a prize of a 2500-page
color-illustrated Webster's Dictionary, plus
Home Reference Library books, is offered to
the child who sends in the best "question
of the week" on a subject which he wants to
see discussed on Young People's World. . . .
Above all, the show's avoid any resemblance
to school work or homework. They also all
have one goal in mind: To excite the imagi-
nation and awaken the interest of children
in the wide, wide world around them.

In Cincinnati, "Skipper" Glenn Ryle uses the world as his theme.

DETROIT'S

FAVORITE

BELLBOY

Horse-lover Jerry rides "Rondo" whenever he can.

Home movies are big with the Gales. Expert cameraman Jerry
runs off reels for wife Patty and sons Randall, Rockland, Kevin.

Meet Jerry Gale of WXYZ-TV — known to the younger set as funny, lovable Johnny Ginger

■ Jerry Gale has been working hard since he was young
enough to be one of his own fans. He was six, in fact,
when he first entertained professionally as a member of
his family's vaudeville troupe. Now, as Johnny Ginger,
the bemused bellboy, Jerry entertains other six-year-
olds every day, from 7:30 to 8:30 a.m. and from 5 to

6:30 p.m., over WXYZ-TV in Detroit Jerry toured

with his parents and his brother Kenny until he was
eleven. Then, because Kenny — who suffered a punctured
lung in an auto accident — needed a stable, restful life, the
Gales retired from the stage and settled in their home
town, Toledo. There Jerry completed his high-school
education. ... At the age of 15, however, Jerry teamed
with a friend, Jimmy Nichols, and was back performing
again, mainly in amateur shows around Toledo. When
Jerry was 18, he and Jimmy began working profession-
ally in theaters and burlesque as the "Pantomaniacs."
... By the age of 21, Jerry was on his own in the night-
club circuit, developing his singing, tap-dancing and
slapstick-comedy act. He does essentially the same act
these days, when he finds time to play a club in the
Detroit area. However, because of his busy TV commit-
ments, Jerry doesn't do much outside work anymore. He

remembers that he was working a night spot in Windsor
when he got that break which led him into television.
. . . Pete Strand, Program Director at WXYZ-TV, hap-
pened to catch Jerry's act one night and asked him to
audition for the station. Jerry was one of forty hopefuls
at the audition, but one of his rivals almost nipped Jerry's
television career before it began. He remarked on Jerry's
resemblance to Soupy Sales and said it was not likely the
station would want two "Soupy's." This was enough to
discourage Jerry and he was on his way home when an-
other aspirant suggested he go in and look around the
studios, anyway. When he went in for a "look," he sang
a song, told a few jokes and that was it: Johnny Ginger
was born. . . . Jerry loves Johnny and he loves Johnny's
fans. Obviously, he hopes to go on as he is for a long,
long time. In a longer view, Jerry would like to try acting
in Westerns on television and in the movies. He loves
horses, has trained them and broken them, and rides
whenever he can. . . . Along with their mother, Patricia,
his sons Rockland, Randall Lee, and Kevin regularly
watch Johnny on TV. And, while they enjoy romping
with their dad Jerry in their comfortable Garden City
home, they think Johnny Ginger is a lot funnier!

What's New on the West Coast

(Continued from page 7)

panel of a plane, Ralph pushed on
with his study and became a full-
fledged licensed pilot. But now his
agents are getting worried. He was
offered an important role and they re-
gretfully turned it down. Reason: He
would have had to play a botanist slow-
ly dying of plant poisoning. "We were
afraid he'd get so realistic, he'd 'live
the role' and we'd lose a client," they
explain. Ralph grins: "I wonder what
they'd say if they knew I've been ap-
proached about doing the part of a
spaceman?"

The City Dump Is Where You Need
A Fan: VanHeflin recently remodeled
his home and had to take a number of
large trees, cut down from his Brent-
wood estate, to the Los Angeles city
dump. While waiting for his crew of
workmen to unload the trucks, Van
was approached by an official bearing
what looked like a book of regulations.
The actor immediately became worried
for fear he'd broken a law. "Mr.
Heflin," said the official, "would you be
good enough to sign our city -dump
guest book? We'd like to add your
name to those of the other stars we've
had here!"

Hollywood Go-Round : Dan Duryea's
recent appearance on Laramie marked
the actor's 100th "guest star" television
appearance. . . . Cliff Robertson has
purchased screen rights to "The Two
Weeks of Charlie Gordon," U.S. Steel
Hour teleplay which won him an Emmy
nomination. . . . The kiddies' favorite
comic, Soupy Sales, has formed his own
TV company and will film a series
with the quite natural title of In The
Soup. . . . Warner Bros, apparently
learned a lesson from the James Gai-
ner walkout and court case and are
giving all their TV stable a crack at
feature films. Andrew Duggan and Ty
Hardin have been assigned top roles in
the studio's "Chapman Report." . . .
Larry Pennell, star of the new Rip-
cord series, says: "Some actors do
movies so they can get into TV, and
some do TV so they can make it big
in movies. Me — I'm just working real
hard so I can get my own radio show.
It's my number-one ambition." . . .
Efrem Zimbalist explains why he no
longer enjoys reading detective stories:
"Before I started work in 77 Sunset
Strip, I read mysteries voraciously,
each time trying to guess who done it.
Lately, when I read them, I find myself
trying to guess what the network might
object to, if it were a teleplay!" . . .
Bob Ryan's a "rotten" businessman but
a "first-class" Irishman. While filming
'Billy Budd" in London, he passed up a
BBC TV "special" and spent his one
week off from the film visiting distant
relatives in Ireland. "Just had to get

a look at the land of my forebears,"
says Bob, "even if it did cost me
money." . . . Molly Bee filed for di-
vorce against TV cameraman John
Kipp less than three months after she
became a bride. Friends say she mar-
ried on the rebound — is "torching" for
an "unavailable" man. ... A surprise
twosome cropping up often is Joan Fon-
taine and Glenn Ford. Joan's comment:
"He's interesting, well-read, doesn't
talk about the movie industry, and he
orders a dinner beautifully." No corn-

Believe it or not — Groucho goes dra-
matic in General Electric Theater.

ment from Glenn, who showered roses
on ex-wife Eleanor Powell during her
recent starring at the Dunes Hotel in
Las Vegas. . . . And recently divorced
Chuck Connors has been busy denying
rumors he's interested in Joan Taylor.
Joan's appeared on The Rifleman, but
their friendship is purely professional.
. . . Anna Maria Alberghetti is nego-
tiating with Rod Serling to write an
original Broadway play for her. And
Hugh O'Brian is another with the
"legit" bug — may star for producer Al-
fred Lunt next fall in a musical comedy.
The Monday Tuesday Lost Her
Head: Tuesday Weld, the "wig-wag
girl" (she owns seven of the artifices),
finally bought a brunette one. But she
promptly filed and forgot it. A few
weeks later, the cute blonde opened
the closet where she'd set it neatly on
its model-head and let out a shriek.
She'd forgotten all about it and for a
minute thought it was really some-
body's head! Incidentally, for the astro-

logical-minded, Gary Lockwood, a cur-
rent Tuesday admirer, has the same
birthday, February 21, as Dick Bey-
mer, Tuesday's ex-love.

Tribute to a True Gentleman: When
the annual Santa Claus Parade debuts
down Hollywood Boulevard this year,
its usual leader will be missing. Leo
Carrillo, "Man on Horseback," and a
star on TV's Cisco Kid a few years
back, is gone — and a symbol of Cali-
fornia tradition will be sorely missed.

The Whosie & Whatsie: Gary Vin-
son, who plays the office boy in The
Roaring 20's, took James Flavin, who
plays the city editor, to the opening of
"The Ice Follies." Says Gary: "I want
to be upped to reporter — so I figured
I'd butter up the boss." . . . Leonard
Ackerman and John Burrows, the co-
producers of Target: The Corruptors,
are two serious young bachelors who
insist that, while they are by no means
"anti-romance," their show is no place
for outside fun. Jack Lemmon wanted
a walk-on role when girlfriend Felicia
Farr was appearing in a recent seg-
ment, but the producers both said "nix
— work and romance don't mix." Inci-
dentally, Jack and Felicia, "steadies"
for four years, seem to hold the Holly-
wood record in the "When will they
ever marry?" department. Doug Mc-
Clure and Barbara Luna, "engaged" for
almost two years, seem to be the run-
nerups. The betting is 80-20 that neither
wedding will ever come off — but then,
the same odds were up before Debbie
Reynolds and Harry Karl finally became
"Mr. and Mrs." . . . Gi-oucho, Chico
and Harpo Marx will tread the TV-
ways next season in a most unique way.
They'll star in a new Screen Gems
comedy series to be produced in "Tri-
Cinemation." In this new animated
art form, the threesome will be repre-
sented visually by life-like figures that
will talk (except for Harpo — who will
whistle), move, and act exactly like the
Marx Brothers in their famous movies.
All the brothers will have to do is pro-
vide the voices. "And that," says
Groucho, "is the easiest way to earn a
living I've ever heard of." Groucho has
a G-E Theater coming up in which he
does a straight dramatic role. The pro-
ducer hoped that his daughter, Melinda,
could portray his TV offspring. But,
after testing, it was realized that fifteen-
year-old Miss Marx wasn't old enough
to play a girl about to be married. It
turned out to be a family affair, any-
way— with Mr. and Mrs. Dennis Hop-
per playing the young couple. Dennis
and Brooke Hayward, daughter of pro-
ducer Leland Hayward and the late
Margaret Sullavan,. were newlyweds of
three weeks when signed to portray
the teenagers in the TV segment.

What's New On The East Coast

back. . . . Betsy Palmer expecting first
blessed event in March — and, in her
home there can be no doubt of the an-
nouncement. Her husband is Dr. Vin-
cent Merendino, a pediatrician.

Spare the Bullets: Tall Man's Barry
Sullivan into N.Y.C. with several mat-
ters on his mind: "Some columnists
kill me with innuendoes. I meet people
who think I've been married five times.
Fact is, I've been married only twice
but newspaper guys insist on painting
me as a Romeo. The other day, I took
my daughter and her friend to the ten-
nis courts for a workout. On the way
back, we stopped for dinner — and, ac-
cording to a columnist, I was out with
a couple of cuties."

Love & Lucre: Sophia Loren flirt-
ing with TV offers. But, with her recent
successes, her price comes high. . . .
Eddie Fisher finally showing irritation
over the comments about his seeming
subservience to Liz. He's looking for
good TV spots. . . . Tuesday Weld and

(Continued from page 8)

NBC has slated the TV version of famous movie "Intermezzo" for November 19.
New Swedish star Ingrid Thulin — with director Fred Coe, Jean Pierre Aumont.

Bfl Noreen Corcoran, Sammee Tong, John Forsythe— happy Bachelor Father.

Gary Lockwood, very much involved
twosome, play another TV love scene
this month on Bus Stop, via ABC. . . .
Al Levy, David Susskind's partner, pre-
dicts the return of live TV and early
death of the series format. Notes that
profit is going out of "series," now more
expensive to make than a live show,
and he maintains that sponsors will
eventually wise up to the fact that they
are putting their names to "the cheap-
est sort of melodramas." (P.S. Last
year, out of 300 TV pilots, only fourteen
were sold as series.) . . . Joannie Som-
mers fast gaining stardom, has an ul-
cer to show for it. . . . Jackie Gleason
will not TV with Art Carney, but it's
nothing personal. Strictly business de-
cision. . . . Mighty Mouse, networks'
oldest cartoon series, is sparking the
UNICEF campaign and it is nothing to
laugh about. Last year, the kids of our
nation collected $1,750,000 which aided
56 million mothers and children around
the world.

Forever Bachelor: Suave John For -
sythe begins, "This Thanksgiving, I will
be sitting by the hearth being thankful
for the success of Bachelor Father." He
explains he's in no rush to get back to
Broadway or films. "I own part of the
TV show — which I enjoy making — and
it all spells security enough to call my
own shots in the future." There is only
one thing about the show that he finds
perplexing. "I get letters from fans ask-
ing me why I don't get married on the
show. I can't answer them. Look, if I
got married, there would be no show!"

Quickies: Bob Horton found himself
a book for a new musical he would like
to bring to Broadway. . . . Mario, Dan-
ny Thomas's daughter, gets $500 a

week for her part on the Joey Bishop
series. High for a newcomer, but
the producer happens to be Danny
Thomas. . . . The new ingredient on
Perry Mason, Karl Held, is no drug-
store discovery. Raised in the back
streets of Jersey City, he's come up the
hard way. A Phi Beta Kappa student
with a master's degree from Purdue,
he is one of those serious dramats.
Happily, he is a bachelor but, unhap-
pily, his chief interests are astronomy
and contract bridge. Jan Murray's
dramatic role in the new Dr. Kildare
series is not just one of those occasional
whims. The comedian is studying dra-
matics and very hopeful he can change
his career.

Manhattan Scene: Robert Young,
looking handsome and contented, into
N.Y.C. to talk about his new TV series.
"It looks good and I'm keeping my fin-
gers crossed," he says, "but let me tell
you this. A year without work didn't
scare me. Some people look fearfully
toward retirement. Not me. My year of
leisure was wonderful. In some ways,
I'm sorry to be back at work.'" . . . Also
to the big city came Leon Ames,
Father Of The Bride, noting, "Money
is just a nuisance these days. I came all
the way across the country without a
dime." He showed off an empty wallet
and commented, "I don't even have
enough for cabfare across town." . . .
And on the town was Myrna Fahey,
beautiful young "daughter" of the same
show. Her escort was a young Italian
she had met last summer in Rome. He
had flown all the way over, just to date
her.

Televitis: Gene Burr, the producer
who shook up the video scene with his

Dating twosome — Tuesday Weld,
Gary Lockwood — also date on TV!

incongruous casting for "Paper Bul-
lets," is again going the wild way in
Du Pont December drama, "Wings of
Flame." Dick Clark is cast as a pilot
and Mahalia Jackson as an airline
hostess. . . . Several TV producers
aware that handsome Roger Maris cap-
tured the imagination of a lot of wom-
en. Now Roger is being coaxed into
trying some teledrama. . . . Broadway
insiders predict George Hamilton and
Susan Kohner will square the knot
during Easter holidays. . . . Robbin
Bain, new gal on Today show, is a beau-
tiful kook. Her hobbies include palmis-
try, astrology and numerology. She is

single and lives alone with two shaggy
poodles. . . . Alice Frost, one of the first
"first ladies" of daytime serials, now
acting in Hollywood, is scheduled for a
TV appearance in The Tall Man.

The Big Ones: Two special Thanks-
giving shows scheduled this month.
ABC-TV, on November 21, casts
Charlton Heston, Betty Johnson, Rich-
ard Kiley and others in an hour of
Currier & Ives musical vignettes. . . .
Over at NBC -TV, on November 23,
they call it "Home for the Holidays,"
another musical Thanksgiving with
Gordon MacRae, Patrice Munsel, Carol
Haney and Al Hirt. . . . Earlier in
November, on the sixteenth, NBC -TV
slots a new Purex Special For Women.
Title, "The Glamour Trap"— all about
gals spending so much on cosmetics. . . .
On November 19, NBC boasts the TV
version of the famous movie "Inter-
mezzo." The cast stars Jean Pierre Au-
mont, Teresa Wright and Ingrid Thulin,
the new Swedish star — in the same role
that initially brought fame to another
Swede, Ingrid Bergman. . . . Still earl-
ier— the sixth — CBS airs a one-hour,
one-man Danny Kaye Show. Featuring
songs, dances, skits and special ma-
terial, the inimitable Danny will have
a large supporting cast. Musical direc-
tor is David Rose, with Danny Daniels
as choreographer.

Deadline Items: Barry Sullivan
Italy-bound again. This time, to make
a picture with Anita Ekberg. . . . Jen-
nifer Jones has changed her mind about
playing the part of Eva Peron in that

ABC -TV production Johnny Mathis

will make one of his rare TV appear-
ances with Ed Sullivan on November
26. . . . And that's the deadline!

The one-and-only Danny Kaye leads off the list of
November specials with a one-man, one-hour show.

Joining Raymond Burr and Barbara Hale on highly successful
Perry Mason series — handsome newcomer Karl Held, a bachelor.

Dean Martin: The Father Behind the Playboy

(Continued from page 24)
get right down to it, Dino never really
tries to fool anybody — therefore he
manages to fool everybody. Sure, he
exaggerates and embroiders a little, as
with the drunk pose. You might say he
does it all up bigger than life. And he
does it well, with the sure yet easy
touch of an innate clown. Dean is one
of the greatest natural wits in the busi-
ness and his sense of timing is superb.

"But, basically," the friend contin-
ued, "Dean never pretends to be some-
thing he isn't. More important, he
never tries to fool or impress himself.
Now, in a town where phonies are
cheaper by the dozen, you'll have to
admit that Old Dino is a rare one!"

However, this same friend is quick
to add that, despite Martin's basic hon-
esty, he still is not an easy man to
understand and there are few who
ever really get close to him. "Dino is a
paradox. He's amiable, easy-going,
unconcerned and casual. At the same
time, he's determined, hard-working,
extremely intent and very well organ-
ized. He couldn't be the former if he
weren't the latter. He's such a complex
person. I think Dean is extremely sen-
sitive, and he's not a man who can
readily talk about his innermost
feelings.

"But make no mistake about it," he
concluded, "this fellow knows just
what he's doing, where he's going, and
how he wants to get there. In fact,
there seems to be considerable evi-
dence that he's already arrived."

Another friend points out that —
while Dean appears warm, cordial and
even out-going, with acquaintances
and strangers — at the same time, he

manages to hold something back.
"Those meeting him for the first time
never realize that Dean is actually re-
strained and aloof. In fact, I'm not so
sure that he does. In the first ten min-
utes with Dean, you get as close to
him as you'll ever get."

Whether or not this is true, Martin
is extremely popular with his col-
leagues and with members of the
Hollywood press corps. Unlike his
"Clan" chum Sinatra, Dean enjoys the
unanimous respect of the scribes, who
find him polite and usually available.
Old Dino is a sure bet when it comes
to bright, amusing comments. Even
those who are aware that his easy-
going chatter serves as an effective
barricade against their more searching
personal questions, don't repair to their
typewriters in a pout.

The Martin charm and the Martin
wit usually add up to an interesting
story. Like Bing Crosby, whom he ad-
mits he once copied, Dean has mastered
the art of magnificent nonchalance and
it serves him well when he's being
interviewed. He makes it all seem cas-
ual and easy, maybe even a bit lacka-
daisical. But the sharp reporter quickly
realizes that Dino is in control all the
way and is saying no more than he
intends to.

When dealing with a scribe he likes
and trusts, Dean will lower the barri-
cades a little. But he still throws in so
many gag lines that you have to be on
guard to catch the straight ones. These
reveal him as a man possessed of com-
mon sense and an uncommon candor.
Though not a braggart, Martin has at
last developed confidence in his talent,
a confidence which his friends say was

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definitely lacking at the time of his
bitter break-up with Jerry Lewis.
Dean's great success in every medium
has not only brought him financial
security, it has given him a new emo-
tional security, as well.

His wife feels that he's finally found
faith in himself as a person. And Dino
candidly admits that he thoroughly
enjoys his stardom and is deeply grate-
ful for all it has brought him. "I know
I'm riding the high time of my career,"
he says. "I only hope it continues. I'll
do my best to see that it does. Of
course, you realize I'm somewhat han-
dicapped— after all, I'm lazy, lacka-
daisical, and always half-swacked!"

Growing serious again, Dean adds:
"About my drinking — it's strictly a
pose, for laughs. I don't drink as much
as they say I do or as I say I do. Let's
face it, I wouldn't last very long if I
did. I know there are people who watch
me, convinced that I'm really stoned.
And they love it — they're waiting to
see what happens next. What they
don't know is that you have to be
pretty sober to keep pulling those ad-
libs out of the thin air. A performer has
to be in control of the situation every
minute. You can't do a good job if
you're really fuzzy."

Songwriter Sammy Cahn, one of
Dean's close pals, agrees that Martin
talks a better bottle than he drinks.
"Truthfully, Dino's not a great elbow-
bender in private life," Sammy says.
"He doesn't need to drink when he's
among friends. When he's appearing in
public, he'll take one to bolster his con-
fidence. I think Dean is really rather
shy underneath it all, and that glass in
his hand helps him get up there and
perform."

Of course, Dean no sooner refutes
the grog gossip than he turns right
around and makes with the 100-proof
jokes again. "Why, every night I go
straight to the refrigerator and get a
bottle of milk," he assured me. "I give
it to the cat, then I go back to my
drinking."

Jeanne Martin wasn't present during
this particular interview, but the next
day she asked for equal time. "This is
one subject on which Dean and I defi-
nitely disagree," the petite blonde ex-
plained. "I think it's in bad taste and
that he should tone the whole thing
down. After all, he's the father of seven
children — and a very good father, too.
But I'm sure there are many who
would never picture him as a good
family man. It's time we showed them
the other side of the coin. Why, do you
know we even get A.A. literature in
the mail? And I receive well-meaning
letters from women who sympathize
with me over poor Dean's 'problem'!"

Jeanne sadly admits that so far her

protests- have fallen on deaf ears.
"Dean thinks the whole thing is good
'show business' and he won't stop it.
He originally got the idea from Phil
Harris, who has always been one of
his idols."

Xhis one point aside, Jeanne Martin
thinks her famous husband is a very
funny man. "Dean is as big a kick
around the house as when he's per-
forming before an auditorium full of
people." she says. "There's one thing
that's required if you're a member of
the Martin family — a good sense of
humor. You couldn't live in our house
without it. In my opinion, it's a pretty
nice way to live. With all the young-
sters around, things do get a little
frantic now and then. But, somehow,
everyone manages to survive.

"People are always asking me about
the children. Dean has four by his
previous marriage and we've had their
custody since 1957. Then we have our
three youngest, which all adds up to
a big, happy family. It usually flips
people when I tell them we use sev-
enty-eight quarts of milk a week and
about fifty loaves of bread! Dean
clowns around with the kids, but he
doesn't let them get away with any-
thing. He's strict when it's necessary,
but he's never a tyrant. And you can
be sure they respect him."

One day, a pal noted that Dean ap-

peared to have lost a little weight. "I
had to. I'm in training to keep up with
my kids," Dino said cheerfully. "A
while back, I noticed I was getting just
a little flabby. When my kids punched
me in the stomach, I could feel it. So
I've been exercising like crazy. I've
got all the gym equipment set up in
our cellar — a medicine ball, bicycle, the
whole ravioli. I'm in pretty good shape
now. Go ahead, punch me," Dean
urged.

Another friend thinks that Dean
would rather have a good laugh from
his children than wow the most sophis-
ticated audience on earth: "I recall
one day when Dean was sitting around
with the youngsters and he happened
to sneeze. Dean noticed that this fasci-
nated the baby, so he sneezed again —
and, from a sitting position, threw
himself halfway across the room. Then
he did some other funny bits of busi-
ness, some pratt falls and a few rolls
on the floor. All the time keeping up
a steady stream of funny comments.
The kids were wild with delight. No
wonder they think their old man is the
greatest!"

Jeanne Martin admits it took plenty
of adjustments on both sides before
she and Dean settled down to peaceful
co-existence. "I had to learn not to let
my feelings get hurt too easily. For
instance, Dean used to be so forgetful,
especially when working long, hard

hours. During our first five years as
husband and wife, he forgot my birth-
day three times. He still doesn't recall
our anniversary unless I remind him.
And, I swear, once he even forgot
Christmas."

But Dino obviously loves his home.
"I should," he quips, "it takes enough
dough to run it." Actually, the Mar-
tins have two homes — one in Palm
Springs, and the large, tastefully fur-
nished place in Beverly Hills, complete
with tennis court, swimming pool and
all the other trimmings that Dean's
$uccess has made possible.

A studio acquaintance once asked
Dino where he lived. "I live in the
best, the most beautiful house in Bev-
erly Hills," he replied. "Oh, yeah?" his
questioner teased. "Tell me, just why
is it the best and most beautiful?"

"Because it's mine," Dean answered
simply.

Despite his casual, glib manner, Dean
Martin really has a great sense of re-
sponsibility— to himself, as well as to
others. He has gone through some
bitter and unhappy periods in the past,
but his wife feels that the man of
those days is gone forever. As the lads
in The Clan might phrase it: From
here on in, Old Dino should find it all
"ring-a-ding-ding."

And you can bet he'll raise his glass
to that.

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There's Something New on Radio

(Continued from page 9)
but when you mentioned your name,
his eyes would light up. That's the way
I felt about radio. So, for this very
personal reason, I'm happy to have a
big-time radio show.

"On the other hand, I've been doing
a lot of network radio in the past five
years and I know how it could be. I
have a theory that the radio audience
is getting" very, very tired of listening
to the local deejay with his Top Forty
records. Very often, they represent the
tastes of the sub-teen audience. You
see this in the popular voices. Frankie
Avalon's voice, for example, high and
very young. A young voice for the kids.
But, no matter whose record, all you
have is the record. The charm, the en-
tertainer's personality, isn't there."

Richard — no one calls him Dick — is
the first to admit that his attitude to-
ward show business is a little unusual.
But his career has been unusual, too.
During the past couple of years, he has
sung regularly on the Arthur Godfrey
show and, at the same time, has em-
ceed The Big Beat, a metropolitan TV
rock 'n' roll show for a sub-teen audi-
ence.

"I was strictly a blob on the show,
a kind of TV deejay," he says. "I never
sang. Many of the kids in the audience
don't know, until this day, that I'm a
singer. Some of the youngsters, how-
ever, would come up to me and say,
Richard, my mother tells me she used
to listen to your records when she was
a little girl.' Now, I'm sure those
weren't the words of her mother — be-
cause, when her mother was a little
girl, I was a little boy."

Actually, he looks younger than he is.
He's thirty-one and, so far as he's con-
cerned, the more people who know his
true age, the better. "I've thought of
taking ads to tell everyone my age. A
couple of times, I was up for the emcee
job on quiz shows. The producer would
turn to me and say, 'Look, Richard, I
like the way you work. The job would
be yours, but you look like a kid and
it just wouldn't set right to have you
running a quiz show for adults.' "

The mixed blessing of youthful looks
is something Richard shares with his
wife Monique. Together, they look like
brother and sister. Last year, he took
Monique to Miami Beach on a three-
day vacation. He recalls, "If we went
into a club to dance or see a show, they
asked for my wife's driver's license.
She didn't have it with her and they
refused to serve her."

Monique, a pretty brunette, is in her
early twenties. She and Richard have
been married since July 7, 1957, and
have two children. Says Richard, "She's
R very warm and very honest. Actually,
l>< was born in Belgium and came to
the states with her parents when she

was three. She majored in journalism at
Syracuse University and was working
as a continuity writer at WNEW when
I first saw her. I called up immediately
and made a date."

Curiously, Richard was then, in a
sense, a "has-been." His career had
begun with a bang at the age of eight-
een. In 1947, he had his first million-
seller record, "The Old Master Paint-
er." He rode the crest for some six
years, and another million-seller, "Our
Lady of Fatima," was the first religious

the morning and CBS in the evening.
He earned his own local show over
Station WCBS in New York.

He was fired from that one — but, the
next week, had a call from Arthur
Godfrey. "I went up there to sing once,
and Arthur asked me to stay on. This
past year, Arthur came to me and said,
'Richard, I did something without ask-
ing your permission. I hope it's okay
with you. I spoke to the network people
and told them I'd like to have you
pinch-hit for me while I'm on vacation.'

Mrs. Hayes is luckier than most show-biz wives — with Richard

not "on the road," he's not only home but serving breakfast!

record to make the hit parade. In 1954,
he went into the Army, served two
years — and, when he returned, found
that the recording business was domi-
nated by rock 'n' roll. He refused to
make the change.

"So Monique joined up with me in a
new beginning," he says. "I was no
longer the 'barefoot boy from Brook-
lyn,' but the business had changed and
I had to start over again. I wasn't
frantic. I'm a firm believer that any-
thing can happen to you tomorrow, in
show business, and that's the way it
turned out."

He caught a guest shot on The Rob-
ert Q. Lewis Show, over CBS Radio.
Robert Q. instantly signed him up as a
regular performer, a contract which
was renewed for four years. And Rich-
ard was signed to NBC Radio's Band-
stand, emceed by Bert Parks. For a
time, Richard was singing for NBC in

I was so thrilled, I didn't know what
to say."

He sat in for Arthur two weeks and,
when Arthur later took a month off,
Richard again took over. The skill he
demonstrated in handling the Godfrey
show led directly to his getting the
new show.

"So you see," he says, "Monique
has been sharing all the ups and downs
of the business. She has missed the
worst side of it — by that, I mean the
traveling. I haven't been on the road
since I left the Army. And if I should
have to go out again, she's going to find
herself sitting alone with the children
for weeks at a time. That's the worst
part of show business for the wife of a
performer."

As it is now, they live normally, no
differently from businessmen who are
their neighbors in their apartment
building in Manhattan's Peter Cooper
Village. He says, "Show people don't

stream in and out of our home. In that
respect, I'm a lousy business man. No
one is ever invited over to dinner be-
cause it would be 'good business.' So,
most evenings, we are at home, reading
or talking to friends."

Their furnishings, period and tra-
ditional, indicate Richard's interests.
He prefers books about the past. He is
very much intrigued by the history of
people who lived in New York in the
nineteenth century. Not a hobbyist by
nature, he presently finds himself read-
ing up on antique watches and clocks,
and itching to start a collection. ''Above
all," he says, "the family itself delights
me. Whenever we go on a weekend
drive, we always take the children."

The baby, Jacqueline Michele, was
born last April 30. Jonathan Andrew
was just three years old in June. "Jon-
athan is one of my best fans — which
makes the peculiarities of show busi-
ness a problem to explain. For example.
The Big Beat goes off for the summer.
Jonathan wants to know what hap-
pened to Daddy's job. I explain, 'The
show is resting.'

"But when I lost the local WCBS
Radio show it became a problem. You
can't say to a three-year-old, 'They
didn't like your daddy'! Actually, it
wasn't the real reason for the cancel-
lation, anyway, and you can't begin to
explain the politics of the business to a
very young child. Jonathan saved the
day by explaining, 'The radio show is
resting with The Big Beat.' "

Jonathan thinks all fathers are on
radio and television, but Richard ad-
mits, "My wife and I aren't quite so
sophisticated in our attitude. I get very
excited about meeting a star. I don't
mean a rock 'n' roll star — but one eve-
ning, for example, Arthur Godfrey in-
vited Monique and me to dinner at the
Hawaiian Room with others in the cast.
It couldn't have meant more to us if we
had won the Pillsbury bake-off."

Much of Richard's enthusiasm for
radio entertainment has rubbed off
from Godfrey. He says, "I've always
had this love for radio, but Arthur has
done more for the medium than any
other performer, and he has shown me
and all the others how to use a micro-
phone. Arthur's secret is in being your-
self and relaxing. Many times, I've seen
him call someone out of the control
booth or audience just to talk a bit
while he was on the air. There's never
a script. But before I sing, there may
be a couple of minutes of chuckles and
strictly ad-lib conversation."

It's the same quality of ease and per-
sonal charm which Richard carries into
the new show. It sounds easy, but re-
quires very special talent — alertness,
wit, professional know-how, a sense of
fun, and the desire to entertain on a
very intimate level. Besides its stars,
the show employs the fine musicianship
of Norman Paris as musical director

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and Bruno Zirato. one of the most ex-
perienced and successful radio pro-
ducers, as director and producer.

'Our only competition,'* says Rich-
ard, "are the independent deejay shows,
and we have quite an edge on them.
They have time checks to get in, and
a lot of spot commercials, and they are
limited to the same records every other
deejay has. We. on the other hand, have
a lively entertainment show with orig-
inal, new material from one day to
another. What we are doing is bringing
back 'big-time radio.' "

In the meantime, Richard Hayes has
been taking a fresh look at himself.
"'What am I now — singer, deejay, or

even actor? We didn't talk about the
Broadway musical I was in, because
that was a turkey. Closed in a month.
But the question reminds me that, when
my second child was born, I was down
in the lobby of the hospital, fretting
with other fathers, and I asked my-
self— suddenly overwhelmed with re-
sponsibility— Richard, what do you
want to be when you grow up? I think
the answer is there. In this business,
we are always young in heart and al-
ways in the process of growing.

"I'm still singing and I'll have a new
album out on Columbia Records short-
ly. Sure, I'd like a hit single. It would
be wonderful for me, but only because

it would mean increased exposure. Out-
side of that, a big record will do noth-
ing much for me. I think I'm now more
of a personality. That appears to be the
way I'm developing. There's talk now
about my finally being old enough to
head a new quiz show on television!"
Richard Hayes, however, keeps com-
ing back to the new radio show. "Right
now, I'm putting everything into it. The
radio show comes first. I even gave up
the rock 'n' roll TV show. I know Carol
Burnett is already a star because of
her exposure on The Garry Moore
Show. What I want to see is whether
this one can make a star of me, as
radio has so often done for others."'

{Continued from page 22)
funny when other people do all the
work for you." The way Betty tells it,
seated in the charming gold and blue
living room of her garden apartment on
New York's West 57th Street, she
makes it seem a simple formula for
writing comedy and working up an act.
She admits, however, that the habit of
watching for the wry incidents in life
reaches deep into her past. Challenged
with the question, "What turned your
career in this direction? A girl doesn't
suddenly become a comedienne at the
age of ten!" — Betty replies, "Oddly
enough, I did. I heard a joke at a
funeral, then told it at a school Hal-
loween party."

She was born Edith Seeman, in Eliz-
abeth, New Jersey, the youngest of
eight. Her father died. "My oldest
boys, four girls, and expected another
boy, but I upset the count." On another
score, she fulfilled a hope. "My father
and mother came from Riga, Latvia.
There they had been expelled from
their strict school because they took
walk-on parts in an opera. But they
loved the theater and, during each
pregnancy, my mother would pray that
this child would go on stage. I am the
only one who did."

Betty's world changed when she was
eight. Her father died. "My oldest
brother, Dave, had just received his
appointment to West Point, but he gave
it up to try to support us." In those De-
pression days, a teen-age boy's earn-
ings were slim, but their mother kept
family morale high. Betty says, "She
raised us on a full coffee pot and much
laughter. Even when we were on re-
lief, Mother could make everything a
treat. Sundays, we window-shopped on
Broad Street. We'd stare and debate.
Then, suddenly, we'd find the one small
thing we could buy that week. Mother
T would say, 'Chaup A Rrine!' which
U translates, 'Grab it!' No millionaire felt
rich'

As Betty remembers, she was in the
62

Telephone Talk Artist

fifth grade when duty required that
she attend an Orthodox Jewish funeral.
She says, "Mourning went on for two
days, and the children didn't know
what to do with themselves. The little
girls huddled in a corner and one told
a joke. I made her tell it over and over
until I learned it." Betty, in turn, told
it on a school Halloween program. It
brought her her first taste of laughter,
applause and attention.

With mature perspective, she reviews
the occasion. "There's always a sad
reason why a child that age feels she
must bring something extra into a group
relationship. I didn't have pretty
clothes, I didn't have a big house, so I
brought a joke." Soon she was also
able to bring music. "With the last, the
only, fifty dollars my mother had in the
world, she bought me a violin."

On finishing high school, Betty sold
hats by day and played jazz by night.
"It wasn't very good jazz, but what
could they expect for three dollars a
night — Beethoven ? "

She served a hard show-business ap-
prenticeship. She sang with orchestras,
tried out for parts on the legitimate
stage, did an act at night clubs. "I've
played every honky tonk you can name.
For sixteen years, I made the rounds
endlessly, never being hired for im-
portant things. But, eventually, the law
of averages paid off. I believe if you do
your best, each place you are, some-
thing is bound to happen."

The key happening for Betty was
finding a role on New York Station
WOR, in a serial titled Secret World.
"In those days, you had to 'double' and
I had worked up twenty-seven char-
acters." Dreaming up the character of
"Ceil" gave Betty definition and brought
recognition. "I wanted to work up a
real act, but I had no partner and I
couldn't afford to buy material. So how
could I do more than a 'single,' alone?
The answer was a telephone — and
writing the act myself."

In addition to her ABC Radio appear-
ances, Betty cuts records for Coral.
With her telephone troupe, she also is
in demand for hotel and convention ap-
pearances. The acting roles which she
sought have now come her way. An
important one was that of Sarah in
"Exodus" — and Betty completely re-
signs her own personality for that of
the character she portrays. "One day
on the set of 'Exodus,' I forgot myself
and made a funny. The director, Otto
Preminger, seemed shocked. He said,
'Why, Miss Walker, I didn't know you
had a sense of humor.' I thought it one
of the best compliments I've ever had
as an actress."

At the height of a season, Betty often
puts in an eighteen-hour day, but she
saves time to work for the Alfred Adler
Mental Hygiene Clinic. Located at 93rd
Street and Central Park West, it is
headed by Drs. Kurt and Alexandra
Adler, the son and daughter-in-law of
the pioneering psychiatrist, Dr. Alfred
Adler. The clinic was founded by Bet-
ty's friend, Mrs. Donica Deutsch, once
a student of Alfred Adler. Says Betty,
"I call Mrs. Deutsch the Mother
Superior. She is a great person and it
is wonderful to do so much good in the
world — to help people understand
themselves better, to straighten out
troubled lives."

Betty is proud that the Women's
Division of which she is founder and
president raised close to ten thousand
dollars for the clinic during the first
year of their organization and twenty-
five thousand dollars for the coming
year. "Our next big project is a 'Bazaar-
athon' held at the Woodstock Hotel on
November 13 and 14. Show-business
stars have agreed to come, both to en-
tertain and to auction the merchandise
which is being donated."

Evidence of Betty's own pleasant ad-
justment to life is her statement, "I
don't need to be a star. It is enough
that I do the work which I love and
that I bring others some enjoyment."

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The Daring Young Men on the Flying TV

(Continued from page 13)
summer stock, radio, and study at the
American Academy of Dramatic Arts,
to movies and television. With more
than a hundred TV appearances to give
him confidence, the idea of doing an
hour-long weekly series didn't even
raise his blood pressure. Thirtyish and
single, he lives alone in a Hollywood
apartment where he can study his lines
without interruption — but without help,
either — and keep up his strength by a
diet of health foods. A champion swim-
mer in college — Ohio State and the
University of Hawaii — he limits his ex-
ercise to a spot of weight lifting, these
busy days.

Having gone through a season in one
series (the original version of Naked
City), twenty-seven-year-old James
Franciscus knew what he was getting
into when he signed up for The Inves-
tigators. He knew all the work involved
— and the rewards, if the series should
become a big hit. A graduate of Yale,
and some snappy prep schools before
that, Jim has now made four movies
and a good many TV appearances. He
has the training and experience to be a
successful actor now, and plans for
producing, directing, and serious writ-
ing in the future. And at home, in a
picturesque cottage in Laurel Canyon,
he has the encouragement of Kitty
Wellman, daughter of a well-known
director, who became Mrs. Franciscus
on May 28, 1960. They'll be three this
winter.

Teenagers of ten years ago will re-
member John Derek, the romantically
handsome young man who was a sen-
sation in his very first movie, "Knock
On Any Door," and went on from there
to become an idol of the pony-tail set.
John's been missing for some four or
five years — producing and acting in
movies abroad — but he's back now, and
making his bid for a new group of fans
in the only new Western series of the
season, Frontier Circus. At thirty-five,
the Hollywood-born actor (real name,
Derek Harris) is as handsome as ever
and confident enough of the future to
have settled down once more in Holly-
wood with his wife, actress Ursule
Andress. (As those earlier teenagers
remember, he was previously married
to Patti Behrs, mother of his two chil-
dren—Russell, 11; daughter Sean, 8.)

One of the most rugged assignments
of the new season is that of Mark Rich-
man, sole star of the new hour-long
s, Cain's Hundred. Mark is a
i-ugged character himself — played pro-
fessional football for two years and did
a tour of duty with the Navy before he
ever dreamed of becoming an actor.
Graduated from the Philadelphia Col-
lege of Pharmacy, too, and figures he
can always go back to doling out vita-
mins if the goin^ gets rough. But the

Philadelphia-born actor has a solid
background which includes four Broad-
way plays, several movies, and a batch
of TV shows. Once his series had a
sponsor, he moved with his wife, ac-
tress Teddi Landess, and their two chil-
dren, Gard and Stacy, to the West
Coast, and has settled down in a
pleasant home in Pacific Palisades for
what he hopes will be a long stay.

The name of Robert Lansing may not
be familiar to TV audiences, though
he's been acting professionally for ten
years, but he hopes to change all that
via 87th Precinct, the new mystery
series in which he stars. Bob is thirty-
three, was born Robert Howell Brown
in San Diego, California, and made his
professional debut on Broadway in
"Stalag 17." Next came a series of one-
night stands — "I drove a pink school
bus 36,000 miles," he says — and a period
of odd jobs before he got back on a
real-for-sure stage. For the last few
years, he has lived in the film capital
with actress -wife Emily McLaughlin
(she was once the feminine star of
Young Doctor Malone) and their son
Robert, 3. And if he has to sacrifice his
hobbies — painting, scuba diving, and
wood -working — for the big success a
TV series can bring, it's okay with him.

Obviously, it takes more cops to keep
law and order for an hour than it does
for thirty minutes, so when Robert
Taylor's Detectives was doubled in
length for this season, someone new
had to be added. Tapped for the role

MINUTE
MARCH

of Sgt. Steve Nelson was Adam West,
as colorful an actor as ever chased a
bad guy across a TV screen. Born in
Walla Walla, Washington, Adam went
to prep school in Seattle and to as-
sorted colleges in the West, getting his
degree from Whitman and doing grad-
uate work at Stanford in journalism,
radio and TV. Duty with the Army
and a walking tour of Europe later, he
turned up in Hawaii. Working as a pro-
ducer and director on a TV station,
Steve also starred in a local produc-
tion of "Picnic," was seen by a Holly-
wood agent, and hustled back to the
Mainland. Three days later, he was
signed to a studio contract. He'd made
one movie, "The Young Philadelphians,"
and appeared in assorted TV dramas
before Sgt. Nelson began occupying

him full-time. Adam's wife is Ngarua
Frisbie, daughter of novelist Robert
Dean Frisbie and Polynesian princess
Ngatokorua-A-Mataa, and they now
live in the San Fernando Valley.

Both young, handsome and single,
Brian Kelly and John Ashley seem
made to order for the two starring
roles in Straightaway, the new series
which deals with sports-car racing and
its related thrills and adventures. Both
are sports-car aficionados, too. But, by
birth and upbringing, they couldn't be
further removed from show business.

Brian, the Scott Ross of the series, is
the son of a former Governor of Michi-
gan who is now a justice of the Su-
preme Court of that state. He played
football at Notre Dame, was a Marine
officer in Korea, and has only a year to
go for his law degree from the Uni-
versity of Michigan. He was doing local
TV commercials for a little walking -
around money when he was spotted by
a talent scout and lured off to Holly-
wood. He co-starred in one TV pilot
that didn't sell, and in another (21
Beacon Street) that did, but Straight-
away gives him his biggest chance to
date, may make him a hero even in his
hometown, auto-happy Detroit.

While his partner-to-be was play-
ing hide-and-seek in the Governor's
mansion in Lansing — down in Tulsa,
Oklahoma, young John Atchley (later
changed to Ashley) wasn't being
brought up to be an actor by Dr. and
Mrs. R. Q. Atchley, who had adopted
him as an infant. Dr. Atchley is a
prominent gynecologist and, though he
encouraged John's interest in sports,
school dramatics, and music, he didn't
have any of them in mind for his son's
career. But between John's junior and
senior years at Oklahoma State Uni-
versity, he visited Hollywood, saw a
film being shot — and was hooked. He's
worked his way up through bit parts
in five movies and in some TV shows;
at twenty-five, figures he's ready for
the blast-off. He even has an extra
gimmick going for him: A good enough
singer to be signed to a recording con-
tract, he gets a chance to do some
vocalizing on the show.

Three daring young newcomers are
making their pitch for fame and for-
tune in Follow The Sun, an hour-long
adventure series master-minded by
Marion Hargrove, who wrote many of
the Maverick stories. Barry Coe,
twenty-seven this fall, has made a
dozen movies since what he thought
was a fraternity brother's gag turned
out to be for real. (The stranger who
approached him with the words, "You
ought to be in pictures," was actually
agent Dick Clayton.) Barry was ma-
joring in business administration at
U.S.C. at the time, and his only acting
experience had been in a Los Alamos

high-school play. But his mother
agreed to stake him for a year, he
passed a screen test, was signed to a
studio contract, and has been working
fairly steadily ever since. Married on
November 21, 1959, to Jorunn Kristian-
sen (Miss Norway of that year), Barry
now has a year-old son, Barry Chris-
tian. Barry's hobby is inventing.

With Barry in Follow The Sun is
twenty-nine-year-old Brett Halsey,
tall, dark and handsome native Cali-
fornian who was hauled out of a TV
studio — he was ushering — by Jack
Benny, nine years ago, and has been
making his living as an actor ever since.
(His latest movie is "Return to Peyton
Place," in which he played opposite
his estranged wife, Italian actress Lu-
ciana Paluzzi.) A Navy veteran, born
Charles Oliver Hand, he's been on the
verge of stardom several times, has
much to gain from a successful flight in
a TV series rocket.

Newest of all the newcomers who
are gambling on success via TV series
is Gary Lockwood who, little more than
a year ago, was working as a stunt man
after being temporarily ousted from
U.C.L.A. The rugged twenty-four-year-
old — a football hero at William S. Hart
High School in Newhall, California —
has been featured in three movies since
then, appeared on Broadway with Jane
Fonda in "There Was A Little Girl,"
and got his part in Follow The Sun on
the strength of his performance in the
pilot of Bus Stop. The son of John
Yurosek, a former onion farmer now
turned motel and restaurant owner,
Gary's been doing fine socially, too —
for weeks, was the favorite date of that
girl-about-town, Tuesday Weld. Of all
the daring young men making the series
flight on TV this fall, Gary has the
least training and experience. He also
has the most to gain.

But every one could be a winner!

All About Paar's Loaded Gun

{Continued from page 17)
Friday-night program consisting of
taped clips of previous telecasts. And
Paar has remained as television's most
controversial personality. Furthermore,
his show is one of NBC's biggest
money-makers, grossing upward of
$20,000,000 annually.

This time, however, NBC is taking
Paar seriously when he says he wants
to sever connections with the nightly
program and confine himself to specials
and, perhaps, a weekly variety show.
Although Jack's present contract run";
until September of 1962, he has said
that he is anxious to leave the program
"as soon as possible" after the first of
the New Year.

1 his leaves the network officials with
two concerns: (1) To keep Jack Paar
happy — he has become one of the big-
gest names in the television industry,
and is a valuable asset to NBC. (2) To
find a replacement for Paar as host of
the late-night show who will be able to
keep the cash registers ringing and the
viewers tuned in to NBC instead of the
late, late movies.

The first problem is relatively simple
to solve: NBC can easily keep Jack
smiling by permitting him an early
exit from his present show contract. . . .
The second problem is decidedly not so
simple: It takes an unusual type of per-
sonality to keep the nation awake —
eyes glued to TV sets.

Like him or not, Paar does possess
an unusual personality. (That could
well be the understatement of the
year.) He has succeeded in a fashion
far above others who held down NBC's
late-at-night hours — Steve Allen and
Ernie Kovacs, among them. He has

built the old Tonight show into one of
NBC's biggest money-makers.

The network, quite naturally, wants
to protect this productive garden of
greenbacks. But with whom? . . . After
many off-the-record (meaning, "I
won't quote you") conversations with
TV executives, performers, secretaries,
Paar staff members and others in the
entertainment world, it is safe to state
at this writing that NBC itself doesn't
know.

The list of those under consideration
is long. Those mentioned below are
not necessarily ranked in order of
"best bets." It may well be that a rela-
tively unknown performer will get the
coveted hot-seat now being kept hot
by Paar. After all, Paar himself was
not a national figure when he took
over Tonight on what NBC admits was
a trial basis.

1. Any such list must be led off by
Hugh Downs. . . . Although Downs
has been the No. 2 man on the Paar
show since it began — and has fre-
quently substituted for Paar when
Jack has been on vacation or "taking
a walk" for some unexplained reason —
there are few who believe he will be
asked to take over the program per-
manently. Perhaps this is because he
has become so well known as a No. 2
man.

On the subject of Paar, Downs once
told this reporter, "I have great re-
spect for him. I'd be a fool if I didn't.
In my many years of broadcasting,
Jack's program has given me my biggest
break. Let me explain it this way: It's
his show. He doesn't need me. Yet he
has allowed the spotlight to shine on
me. For the first time, people recog-
nize me wherever I go. And the pro-

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Be*x§4 WALLET PHOTOS

gram has benefited me financially to a
tremendous degree.

"I don"t always agree with Jack's
opinions. He doesn't expect me to. In
fact, we've disagreed publicly — in front
of the cameras. He's a champion of
free speech, and anyone in that cate-
gory is bound to come up with con-
troversial or unpopular opinions from
time to time." The very fact that
Downs has been one of the few people
willing to disagree with Paar on the
air is a point in his favor as the Great
Man's replacement. Downs is not
afraid of controversy, and controversy
is as important to Tonight as votes are
to a politician.

"Don't discount Downs." a network
official said. "When the others are
weeded out in a process of elimination,
Downs is likely to be the only one
left. After all, the public already as-
sociates him with the show."

2. Joey Bishop. Of all the various
Paar substitutes, Joey has made the
biggest impact. Although he has been
an entertainer for twenty-years-plus,
it wasn't until fairly recently that he
became a national headliner. "There
are two reasons for this," he has said.
"One is my exposure on the Jack Paar
show, and the other is my association
with Frank Sinatra."

Bishop has frequently been men-
tioned as the leading candidate to suc-
ceed Paar. However, he may have
eliminated himself with the TV debut
this fall of the weekly Joey Bishop
Show. A weekly series, plus the de-
mands of Tonight, is almost beyond
human possibility.

3. Jack E. Leonard. Leonard's hair-
trigger mind and reputation as one of

the fastest — and best — ad-libbers in
show business is his chief qualification.
On the debit side is the belief that his
is not a sufficiently warm personality
to win and hold a national audience
night after night . . . that his "hip"
humor might wear out the viewers.
Leonard is definitely not a "Paar type."
But then, who is?

4. Hal March. Surprisingly, perhaps,
Hal's name popped up frequently in

<%ft^t

Just at press time, NBC-TV, in an
abrupt move, announced that Jack
Paar will terminate his participa-
tion with the present Jack Paar
Show on March 30, 1962. Next
fall, he will begin a weekly series
of major prime-time programs,
live and in color, with big-name
guest attractions. His successor on
the late-night show will be an-
nounced later.

the research for this article. "He's
much like Paar," one NBC employe
said. "His mind is quick, and, like
Jack, he knows a little about a lot of
things. He knows how to smile and he
knows how to be emotional."

5. Johnny Carson. Best known as
the host of ABC-TV's long-running
Who Do You Trust? daytime comedy
quiz, Carson is a natural humorist.
He's a believer in freedom for a per-

Berlin incident: Jock Paar on-the-spot with U.S. Army
Colonel John L. Deone near sector border of divided city.

former, which fits in with the Tonight
show format. His personality is also
considered "right" for nightly expo-
sure.

6. Dave Garroway. He would be a
top contender, if he wanted the job — ■
which is unlikely. When he left NBC's
morning show, Garroway said he
wanted a less demanding schedule. If
anything, Tonight would be even more
demanding.

7. Merv Griffin. A good possibility.
Already well established as a TV fig-
ure, his on-camera personality is a big
factor in his favor.

8. Steve Allen. The first of the late-
at-night hosts on NBC, Allen's situa-
tion is much like that of Joey Bishop:
His new program on ABC -TV un-
doubtedly eliminates him from serious
consideration.

9. Ernie Kovacs. Another veteran of
the NBC midnight frolic, Kovacs is
an unlikely choice because of his TV
and movie commitments on the West
Coast.

10. David Susskind. Susskind cer-
tainly has sufficient controversy value
and the challenge of replacing Paar
would undoubtedly appeal to him.
However, Susskind is not the warm
"thanks for letting me into your living
room" type, and his popularity with
top network officials — any network —
is questionable. In the parlance of
horse racing, he's a "long shot.'"

Others in the running include Dick
Van Dyke (whose own series may be
the eliminator), Jonathan Winters.
Buddy Hackett, Herb Shriner, Bert
Parks, Alexander King, Orson Bean,
New York Herald Tribune columnist
John Crosby, Chicago's Jack Eigen
(the pioneer of radio interview shows),
Tom Duggan (who has won popularity
in California with a Paar-type tele-
cast) .

Paar thrives on being unpredictable.
He takes pride in what he has man-
aged, almost singlehandedly, to do with
the Tonight program. There is no
question that he enjoys a national plat-
form on which to voice his varied and
controversial opinions. And he readily
admits that he was far from being a
total success in his previous motion
picture and television ventures.

It is entirely within the realm of pos-
sibility that Tonight will continue to
be better known as The Jack Paar
Show, with Jack perhaps appearing
only two or three nights a week and
Hugh Downs, or another personality,
taking over the rest of the week.

This would give Paar sufficient time
to host a weekly variety program,
something he has often expressed the
wish to do. This arrangement would
apparently solve Paar's problem, and
NBC's, too. In a manner of speaking,
Paar would be able to eat his cake and
retain a big chunk of it at the same
time.

Who'll Get the Guy?

(Continued from page 14)
of Dorothy's features, the sweep of her
well-groomed blonde hair, her flawless
complexion and the high fashion of her
dinner dress. All very sophisticated, he
thought, until you saw the gentle
warmth that came from Dorothy's eyes.
Ralph appreciated the care with which
Dorothy had prepared herself for their
evening on the town. But it was in
Dorothy's eyes that Ralph saw the
woman he might like to care for.

Yet, try as he might, the memory of
another woman lingered and gnawed
at his mind. It was all so complicated,
and that was the last thing in the world
Taeger wanted — complications. But it
wasn't going to be that easy. And
now, suddenly, he knew it.

When a man dates a girl like Connie
Stevens for three months, five and six
nights a week, sees her off on a ten -day
trip to Hawaii and then celebrates her
return home by dating the actress that
Connie had been feuding with for three
years — well, thought Ralph, a guy just
may be in a stew-pot full of complica-
tions.

Ralph was trying desperately to have
a good time, to blot out the memory of
that very afternoon. No more than
three hours ago, he had walked out of
Connie Stevens' home crashing the
door so hard behind him that the noise
still hurt his ears. He hadn't looked
back. And he wasn't going to look back
— if he could help it. . . .

As for Connie Stevens — was she look-
ing back? Did she remember that, on
the first night she was out with Ralph,
she had experienced near-fear when
they were alone? Without asking, and
with a confidence Connie didn't feel
Ralph had a right to, he pulled up the
car quietly on a small knoll along the
road at Malibu Beach, turned the key,
put out the headlights and slumped back
in the seat.

It has happened before, Connie
thought, now it looks like it's going to
happen again. A big, hard-muscled,
handsome young man was going to
throw all his charm and intelligence out
the window just to see how far he could
*et with a girl. He's probably trying to
think of exactly the right words. Well,
I've heard them all. She sat up straight,
her skirt rustling loudly in the silence.
And I'm ready for the Taeger line just
in case I haven't heard it.

But, even in the darkness, the
breadth of Ralph's shoulders, the large
bulk of his arms and his great hands
reminded her of that cool, determined
look of his which said he wasn't ac-
customed to taking no for an answer
from any girl. It was then that Connie
felt the fear, for suddenly she guessed
why Ralph probably didn't have

"trouble" with his girls. A girl was
afraid to say "No," to him. Well, if he
thought —

"Stop worrying," Ralph said softly.
"You don't have anything to be afraid
of." He took her hand and held it in
the massive palm of his own. "You
were worried. Just a little?" he asked.

Connie tried hard not fo, but she
blushed. "You're not supposed to know
what a girl's thinking," she laughed,
trying to conceal her relief.

"And it's a good thing you don't know
what I'm thinking," Ralph grinned. And
somehow, then, the tension was gone.
"No," he said, with the ghost of a sigh,
"I don't want to spoil it. For you — or
myself."

1 hat was the beginning. And it
looked like love all the way to the end.

But Connie Stevens and Ralph Tae-
ger were one of those rare Hollywood
couples. They were afraid to call their
feeling "love." They didn't want to
"spoil it." They played their romance
down, even though dating five and six
nights a week. When asked about it,
each was evasive, neither would talk
about it as a serious affair.

They had met, as so often happens,
at a publicity party, where there were
pictures taken of them together. They'd
never met before. It was "almost love"
at first sight. Ralph's overwhelming
ruggedness and masculinity may have
appealed to Connie. Connie's looks and
charm worked overtime on Ralph — but
what really clinched it was her honesty.
"She says what she thinks," Ralph says,
even today.

They began dating immediately after
the first meeting. Before there was any
talk of romance, before they had com-
pleted their first date, they made a pact:
This would be an honest relationship!
If one of them began to feel tied down,
he or she would discuss it — right away,
so there would be no misunderstanding.
Why ruin a good friendship by falling
in and out of love?

Connie had dated many young men
in Hollywood. She'd gone with Gary
Clarke for almost two years. People
expected them to marry almost mo-
mentarily. Two things slowed up the
Stevens-Clarke understanding. Careers
— his and hers. Connie's career was ob-
viously in high gear, Gary's was yet to
get underway. He'd made a start, but
nothing like what had been happening
to Connie.

Movie leads in "Parrish" and "Susan
Slade," as well as her continuing suc-
cess in TV's Hawaiian Eye, place Con-
nie in the top five young actresses in
Hollywood. Everything she does turns
to success, and she never lets up. In
show business since an early age, she
knows it means hard work to stay on

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Above: The lovely dales Ralph
Taeger has been trying not to re-
member. Right: The "other" guy
— is Gary Clarke the one man Connie
Stevens can never forget?

top. As she achieves more, she works
harder.

So the gap between them, career-wise,
seemed to be widening. Then, too, there
was a personality clash. Like many
young actresses, Connie has a driving
temperament. You don't get to be a
star by sitting back and letting others
do the work. If a song doesn't sound
right to you, you've got to be ready to
sing it again and again. Even if every-
one else thinks it's great, you've got to
fight for one more try. This means
clashing with people — but you've got
to be ready for this, if stardom means
that much to you.

It does to Connie, and it takes a
strong male to dominate her. Gary
isn't weak, but he lacked Connie's
drive. "Working tonight, Gary, see you
tomorrow," she'd say. And that would
end it. "Okay, Connie," he always
answered. In any other field, Gary's
thoughtfulness would be appreciated.
But, with Connie, a man had to be
positive and forceful.

Then Connie ran smack up against
hard-headed, dominant Taeger. Where
he comes from, the girl does what she's
told. When there was a decision to be
made, Ralph made it. No excuses, no
amount of work, were enough to break
a date with him. "I'll be tired," she'd
say. "So will I," he'd answer, "we'll just
talk." And Connie would say meekly,
•Yes, Ralph."

The romance flourished.

Ralph and Connie decided they
wouldn't be photographed together.
They didn't want to jinx their romance.
They didn't want people talking about
them as a twosome. They wanted to be
They're both intent on one, and
only one. "right" marriage.

Connie's career was progressing at
breakneck speed, but Ralph was "hot
property." In the limelight only a
year-and-a-half, Ralph did two series
in a row for NBC, Klondike and Aca-
pulco. Both folded, but Ralph's fan mail
kept increasing. People wanted him for
movies. He did "X-15" for Frank
Sinatra's company. Ziv, his TV studio,
was so excited about him that they put
him under weekly contract just to hold
him, to forestall efforts by three other
studios to grab him.

Ralph is ready for hard work, as
Connie is. He is determined to succeed.
Unlike Gary, the disparity in careers
at this point didn't bother Ralph at all.
He had confidence in himself, and be-
sides: Ij you can support a girl, that's
all that counts. And that was fine with
Connie.

Yet it was hard to do things for
Ralph, Connie found out. He wouldn't
stand still for much effort on a girl's
part. He never stayed in one place too
long. There were things to be done,
careerwise, and he was off and about
them. She was never completely sure,
till she saw him, when and if she would.

Connie tried giving Ralph a surprise
party for his birthday. It must have
taken ten years off her life. "Let's just
get together for dinner," she suggested
tentatively, having already invited his
friends in advance, bought the food,
planned the party, rearranged her
house.

"I've got a business meeting," said
Ralph.

"Business? On your birthday?"

"We'll have dinner tomorrow night."

"No, tonight." Connie was so terrified
that her plans would blow up that she
almost bit her tongue.

With the help of a mutual friend,
Ralph was persuaded to forget the
business meeting. All afternoon, a quiet
Sunday to the casual observer, Ralph
bridled at everything. He didn't like a
girl, even the girl, making his plans for
him. Meanwhile, Connie was in shreds
from trying to keep the secret and still
have her favorite man arrive at her
house when he should. "He's a mus-
tang," she said, "and he's hard to train."

When the party finally occurred,
Ralph was really surprised — and more
touched by the tender conspiracy than
he ever imagined he would be. No one
had ever gone to trouble like this to
surprise him before.

It looked like love for sure now . . .
but there had been one incident Ralph
had never told Connie about . . . some-
thing that happened shortly after it
began to get around that they were
seeing each other steadily.

Ralph met a buddy he hadn't seen in
months. For a while, they talked shop.
Both men were bachelors. Both had
dated the same girls. Both were the
same age. Finally, the buddy said to
Ralph, "I hear you've been seeing a lot
of Connie Stevens."

"A lot," Ralph replied happily. "She
is one of the best . . . maybe she is the
best as far as I'm concerned."

"Do you mean," his friend queried,
"that you're serious? Ralph, we're good
friends — I hope we always will be. But
I've got to tell you something you may
not like."

"What do you mean?"

"You may not remember, but I once
dated Connie, too. It's a long time back,
almost two years. I think I saw in Con-
nie everything you do. And I agree
with you. She is a wonderful girl. But
you ought to know one thing about
her: I don't think she's gotten over
Gary Clarke."

For an instant Ralph was tempted to
anger. Then he shrugged. "That was a
long time ago. Believe me, Gary's a
good guy, but it's over between them.
I know."

Ralph's friend nodded. "I thought I
knew, too. But I was wrong. He was
her first love. Remember that. You
know how a woman is — "

"Look," Ralph interrupted, "you're
'way off base. If you weren't a friend.
I'd belt you and you know it!"

And so it proceeded for three months.
Then Connie went off to Hawaii for two
weeks. She wrote Ralph every day
from Hawaii. She planned on stopping
in Los Angeles on her way to Europe,
where she would sing in England and
Germany. Two days stolen from a
hectic schedule, so that she could at
least see her big, stubborn, casual, un-
breakable, dominating Ralph.

The two days meant a great deal to
Ralph. He wouldn't admit, even to him-
self, he was that much in love.

A day before Connie's arrival, she

called him from Hawaii. The first day
of her two days in Los Angeles was
Gary's birthday. Could Ralph meet her,
and they could be together, and then
she could have dinner and a date with
Gary? After all, it was his birthday.
She'd gone with Gary a long time. She'd
see Ralph all the next day. Please?

The conversation caught Ralph un-
aware, unprepared and vulnerable.
"'No," he said. He was talking from his
apartment. Holding the phone in his
hand, he paced back and forth across
the living room while he talked. He
kicked the wall, he kicked the couch,
finally kicked the table so hard he
broke the leg on it.

They argued and argued.

Connie was nearly in tears at the
other end of the wire. Ralph had to
understand. "Let's not talk about it,"
she said finally. But this wasn't Ralph's
way. It was never Ralph's way. "We
will talk about it," he said hotly.
"We'll talk about it till we decide
something."

"There's nothing to talk about," Con-
nie managed through the tightness in
her heart. Why wouldn't Ralph under-
stand? But he was silent, staring at
the phone as if he could not believe his
ears. So Gary was still in Connie's life.
And, at this particular moment, more
important to her than Ralph.

"All right," he said. "Have dinner
with him. I'll see you when you come
home, tomorrow." But, in the next
twenty-four hours, his resentment re-
turned. And the following day, at Con-
nie's home, it happened.

From the moment he walked in the
door, the argument started again.

"What are we playing?" Ralph de-
manded angrily. "Button, Button?
What am I supposed to feel? You've got
two days, one almost gone. Then I
won't see you for nearly five weeks. I
don't want to share it with Gary or
any other man. How could you want
me to?"

"But, Ralph, he is an old friend and
it is his birthday." Connie pleaded once
more. "Don't you understand?"

Ralph looked at her and nodded. "I
understand. And I think I understand,
for the first time, something someone
told me. Okay, okay. Have dinner with
Gary. Wait. Don't just have dinner. Go
see him now. Spend the whole day with
him. It's his birthday. Take two days.
Tomorrow, too. And have a lot of laughs
— on me."

Taeger turned and walked out of
Connie's house. But a violent impulse
seized him as he left. He slammed the
door so hard behind him that it jammed
shut and couldn't be opened until car-
penters repaired it the next morning.

What was it they said was the best
way to forget one woman? See an-
other? It was then he thought of
Dorothy Provine. Ralph had met

Dorothy at a party. He knew she was
beautiful, talented, intelligent, and ex-
citing. He called her. Yes, it was an
open night. Yes, she'd love to go to
dinner.

So it was that, only hours after he
had broken with Connie, Ralph was
dining with Dorothy. . . .

The feud between Connie Stevens
and Dorothy Provine was already leg-
end. They not only didn't speak when
they met, they wouldn't stay in the
same room. If there hadn't been the
matter of contracts, they probably
wouldn't have stayed at the same
studio. No one knew for sure how it
started, but everyone knew for very
sure that it existed, existed bitterly.

"Dorothy Provine's a pretty girl,"
Ralph had once said, half-jesting. Con-
nie had hit him with a plate.

Didn't Ralph know this when he
called Dorothy? Sure, he did. He didn't
do it just for spite, but then he didn't
do it just not for spite, either. If you
want to get a girl out of your mind,
don't go to her jriends. Besides, Dorothy
was a woman. Dorothy worked hard
for a career, too, very hard. She had
sex appeal. She was witty, frank, out-
spoken, volatile, unpredictable, a
bombful of woman for any man.

From the restaurant in Beverly Hills,
they went to her house in Hollywood,
where they talked until the small hours
of the morning. They were both sur-
prised at how well they got along. The
next night saw them at another res-
taurant, and again a late night and
another date. Ralph and Dorothy found
they enjoyed each other's company
immensely.

On Dorothy's part, perhaps, it started
with a delightful feeling of female ven-
geance. On Ralph's, perhaps, the urge
to hurt someone he'd almost loved.
Ralph doesn't pretend to know the an-
swer.

Neither does Connie.

Who was hurt the most? Or was any-
one hurt at all? It wasn't the first time,
obviously, that Connie had come near
to falling in love — hard. She is a re-
markable young woman and with all
the attributes and promise of a suc-
cessful professional and personal fu-
ture. But apparently, somewhere deep
in her heart, she stores the memory of
Gary. And only when she believes she
is in love with someone else does that
memory torment her so painfully that
she cannot resist the urge to be with
him. What it means to her love of the
future, not even Connie can say. She
wishes she could.

Ralph? He will survive, but not with-
out memories. His hurt was great but
not lasting. The rise of his temper is
quick, but so is its decline. He, at least,
has learned one thing for sure. That a
man must be careful before he falls in
love. Not suspicious nor distrustful.
Just careful. . . .

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Hell Breaks Loose on Location

(Continued from page 39)
even the mildest of the cast into a
grouch. And the nature of the roles be-
ing played. Men under fire are apt to
be loners, surly, silent, introspective
and extremely touchy. Actors — playing
such parts, simulating the actual con-
ditions of war and battle — are also apt
to assume the attitudes of real-life sol-
diers. They, too, become raspy and vio-
lent. Anywhere you touch them, you
hit a nerve.

Let us examine the element of char-
acter. One well-known actor, who
asked to remain anonymous, said at
once about the rumor, "This one could
very well be true. I've worked with
both Darin and McQueen and, in my
humble estimation, they're the hardest
guys in the business to work with. They
have egos a mile long, they want things
done their own way, and they are com-
plicated fellows who can't help bring-
ing problems to any job. I'd say they
were bound to clash."

Steve McQueen's reputation for "be-
ing difficult" — Hollywood's euphemism
for a hard-headed temperamental at-
titude— goes back to his Wanted — Dead
Or Alive days. The TV series had
scarcely become popular before Steve
was making threatening noises about
quitting. His reason was blunt and fun-
damental. In a couple of segments, he
felt the show had slid slightly from
the Kne his own thoughts were taking.
The moment he sensed it was not run-
ning parallel to his own idea of perfec-
tion, he began raising the roof. It was
not until he was doing his first big
movie, "Never So Few" — with Frank
Sinatra, whom he admires sincerely —
that he got a solid piece of advice from
director John Sturges.

Steve had been discussing with Stur-
ges his desire for an out from his CBS-
TV contract. Sturges promptly told him
that all art, all entertainment values,
were a compromise in the long view.
Sturges counseled: "Fish or cut bait —
do the series as best you can under the
existing conditions, or get into another
line of work. You won't find it any dif-
ferent in the movies, on Broadway, or
even in the little art theaters."

Days of soul-searching followed.
Steve brooded, growled at everyone
who crossed his path, and took the
matter up again and again with his
talented and exotic wife, Neile Adams.
The decision, achieved the hard way,
finally came. Steve would stick with
his bounty-hunter role and do the best
he could with it. But, to this day, he
has retained the reputation of being a
man with a great load of personal re-
iisibility on his back. When he feels

r he is right about something, his first
impulse is to blurt it out and fight for

„( it, even though it goes contrary to the

opinions of his producer, director and
co-stars.

Another element in his character is
the competitive drive. It has always
been strong in Steve. He's always push-
ing hard for the top spot. "I don't want
to be second-best," he points out. "Man,
I'm not built that way. A runner-up is
the most pathetic creature I know, be-
cause he came so close to being top
dog."

On the other hand, it must be ad-
mitted that, when Steve comes into
contact with greatness in another per-
former, he is just as anxious to be first
with his orchids as he is with scallions
for a bad job done. He got along beau-
tifully with his fellow actors in "Never
So Few," and his comment after a scene
with Sinatra was an awed "He's per-
fect." But his relations with Yul Bryn-
ner, with whom he co-starred in "The
Magnificent Seven," were about as hot-
headed and sore as his feud with Darin
is supposed to be.

Yul's frank credo is: For an actor,
success depends not only on talent and
technique, but on egoism and selfish-
ness. When an actor steps on stage or
before the cameras, says Yul, he must
defend his ground from intrusion by
other actors as though it were sacred.
His feud with Steve began when he

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got the notion that Steve was getting
smart-alecky, trying to steal the pic-
ture. Steve got riled because he thought
Yul was acting "the big star" on the
set. Yul is like a rock, Steve like a
dashing wave. They still do not speak
kindly of each other.

About Darin, Steve has this to say,
"I've never hid my feelings before. If
Bobby and I were on the outs, don't
you think I'd come right out with it?"

Bobby's reputation for brashness and
pugnacity dates from his first acting
assignment in "Too Late Blues." Per-
haps he was suffering from some of
the personality problems undergone by
McQueen in "The Magnificent Seven,"
when Steve was trying so hard to
"prove himself" as a star. In any event,
Bobby definitely did not endear him-
self to either the cast or crew of
"Blues." Co-star Stella Stevens, though
the film was completed months ago,
still admits she'd rather not talk about
Bobby. "He does have a very pretty
and talented wife" is her somewhat
double-edged comment. And certain
members of the company were not
speaking to Bobby "unless absolutely
necessary" by the end of filming.

Bobby is like McQueen in many
ways. He relentlessly pursues his star.

He made up his mind to make his ca-
reer in show business when he was
eighteen. "I set out to become a star at
twenty-one and the greatest star of all
by twenty-five," he modestly allows. It
is one of the statements that tend to
act like dust in the eyes of his fellow
performers. But, in his own way, Bob-
by is a dedicated showman. He is a
conscious perfectionist and demands
the same of all who work with him.
"He doesn't mind stepping on toes, all
in the name of improving a scene or an
action," one technician ruefully points
out.

This stepping-on-toes naturally re-
sulted in a wave of rumors about a
blow-up with Nick Adams, and then
the big explosion with McQueen. But,
aside from characters and reputations
of the principals involved, the heat and
the demands of their roles, there seems
to be no solid evidence of a feud, fist
fights, or anything but the usual tan-
trums that are an inevitable adjunct
to a difficult show. "Fights? We were
too busy dodging rattlesnakes," snorts
Nick. "We killed seventeen rattlers
while we were sweltering in that heat.
Naturally, we were not exactly relaxed
and cozy."

"I heard the rumors," Bobby chuckles
with a twisted grin of derision. "The
fact is, we all led the quietest kind of
life. If we hadn't, we'd have passed out.
Sandy was with me and Steve's wife
Neile had us over for dinner and taught
Sandy how to cook some Spanish dish-
es, and she gave us lots of tips that will
come in handy for our baby. But, for
seven weeks, we were living in some-
thing like war. Even getting up at four
in the morning didn't help us with the
heat. We began shooting at six and,
by noon, we could have used another
night's sleep. By the end of a day, we
were so exhausted, we couldn't have
argued with each other if we wanted.
We were just too tired. I'm not saying
nobody ever blew his stack. But, under
the circumstances, we were a pretty
tame lot. I'm personally not feuding
with anybody."

So this is all that there is to "Hol-
lywood's hottest feud." But the fact
remains that, in the minds of many
observers of the movieland scene, there
lingers an attitude of "Where there's
so much smoke, there's bound to be
fire." The prevailing notion is that you
can't bring together an all-male cast of
strong personalities such as McQueen,
Darin, Adams, Harry Guardino and
James Coburn, under rugged overheat-
ed conditions, without having the fur
fly. It may be taken for granted that
— after all the denials are in, after in-
vestigation proves there is very little
substance to the sound and fury — a
small hard residue of sly gossip about
"the feud" will continue to crop up.

TV Togetherness

(Continued from page 40)
The Lunts — bowed to fate. As for the
happy Harenses, they crossed their
fingers in deference to Lady Luck and
told each other, "Here we go again!"

They had met, one bitterly cold
January morning in 1947, under less
than auspicious circumstances. June
had just returned to New York after
two years as Corliss Archer in the tour-
ing company of "Kiss and Tell." It had
been her first starring role and, when
she learned that a play entitled "Tent-
ing Tonight" was being cast, she shiv-
ered into the big, barny room in which
several people were waiting to read for
various parts.

At some distance from the other
hopefuls sat a young actor who looked
both warm and prosperous — admirable
traits, in the opinion of a job-hunting
newcomer fresh from the provinces. He
was wearing a handsome camel's-hair
trench coat, a white scarf, a snap-brim
Borsalino, a dark suit and handmade
shoes.

Easing up to this vision, June smiled
her most disarming smile and asked,
'Are you reading for a part in this
play, too?"

Dean Harens arose courteously. "No,
I'm not," he said.

"Oh . . . well . . . er . . . excuse
me . . ." June said — thinking, as she
backed away, that he might be the
show's angel, or possibly a camel's-hair-
coat tycoon.

Not until she had won the ingenue
role did she discover that the laconic
type was Dean Harens, star of the
show. He had just come from Holly-
wood, where he had worked with
Deanna Durbin and Gene Kelly in
"Christmas Holiday," with Charles
Laughton in "The Suspect" and with
Pat O'Brien in "Crack-Up."

We'll see about this, June told her-
self.

On the fifth day of rehearsal for
"Tenting Tonight," the company
reached the love scenes. June's lines
required her to propose to Dean. His
lines required him to refuse. It was
mere dialogue in a play, but there was
a snap, crackle and pop in the way the
words were delivered. The delighted
director was convinced he had a hit
in the making.

Unfortunately, the play lasted a fast
seven weeks. On closing night, Dean
Harens entertained a miserable
thought: June was almost sure to go
out on tour; he was going to stay in
New York for TV work. They might
never get together again. Using June's
lines from the show, he asked her to
marry him.

June used Dean's lines to tell him
"no." A girl is obliged to preserve her
pride. Besides, she had already signed
to go into "Ivy Green." another Broad-

way show — so she knew she would be
seeing Dean around town!

She did. He worked in television
during the day, stalled around "Ivy
Green" in the evening. Whenever he
felt lucky, he proposed again. And so
they were married in June, 1947, in
New York's St. Boniface Church. When
Dean proposed a toast to his bride he
said, "May we live an eventful life."

First event: The round- trip train
tickets for their California honeymoon
disappeared. After the wedding party
had suffered a composite nervous
breakdown, the best man found the
tickets in Dean's luggage, and boosted
the newlyweds onto the train as it was
storming out of Grand Central Station.

After the honeymoon, there were
more Broadway plays and television
work. The eventful life took hold again
in 1951, when they signed for a six-
month tour of Australia in "The Moon
Is Blue." It took twenty-four hours to
fly from Honolulu to the interior of
Australia — where they had no inten-
tion of going. Melbourne was socked
in, however, and stayed that way for
another twenty-four hours. Finally,
they took advantage of a rainstorm to
land at three in the morning . . . only
to discover that their "de luxe" hotel
was equipped with something-less-
than-modern exterior plumbing.

"Well ... at least, we aren't bored,"
said Dean.

"To the eventful life," said June,
emptying rain from her slipper.

Six months later, on a flight from
Beirut to Rome, they catalogued the
eventful experience of watching static
electricity collect on the plane wings
and explode in basketballs of fire. En
route from Rome to New York, Dean
(who is spokesman for Bel Air ciga-
rettes and is recognized everywhere)
was approached by a smoke-hungry
Yankee who asked wistfully, "Buddy,
could you let me have a carton or two
of your Bel Airs? I've been out of
American cigarettes for a month."

On all flights, Dean is the self-ap-
pointed assistant co-pilot. June usually
subsides into the sleep of the trusting.
When a jet flight landed in California
with enough thud to jar most of the
galley equipment onto the deck and
send handbags flying through the cabin,
June opened her eyes to study Dean's
ashen face with surprise and to observe
mildly, "Wouldn't you think they could
find some way to lock their cupboard
doors and avoid all that racket?"

Currently, the Harenses are traveling
little, having bought a home in the San
Fernando Valley. A California ranch
house, it is situated on a hillside sur-
veying a 270-degree view.

Home ownership, like travel, points
up the temperamental differences be-
tween Dean and June. He is a do-it-

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now expert, efficient, quick -thinking,
but a little impatient. He spent one
weekend refinishing an antique lamp
table. The task completed, he was
impelled to view the final effect, so set
the proper lamp in place on the gleam-
ing table. The next morning, lamp and
table were one, joined by hardened
varnish. The lamp had to be pried
off, the table sanded and re-refinished.

June moves more deliberately. She
has to study a situation before acting.
Last Christmas, a tall candle on the
fireplace mantel tipped over, setting
fire to a display of greetings. She was
gently blowing on the blaze to ex-
tinguish it, when Dean arrived with a
pitcher of water.

Dean and June own two dogs, and
the manner of their acquisition tells
much about the Harens marriage.
"Mata Harens" (Dean is apologetic
over the atrocious pun) is the result of
a long line of spontaneous enthusiasms,
but mainly her blood line appears to
be cocker-beagle-dachshund. A Cali-
fornia matron won her as a door prize
at a charity event, took one look, and
decided that charity has its limits. She
turned the pooch over to the pound.

Hearing the story, Dean announced
that the dog had been cheated out of
the home intended for her by fate. He
felt obliged to act, so he rescued Mata.
The Harenses had never intended to
own a dog. "But Mata is different,"
they agreed.

Another night, they were called to
the home of friends whose registered
Labrador retriever was having puppies.
The four human beings stayed up all
night with the canine mother, and left
her only after her litter had been
washed and fed and she had gone to
sleep. The following afternoon, June
said thoughtfully, "I guess we should
take the little one, the runt. I mean . . .
not everyone would want her."

"Having two dogs in this house would
be like opening Pandora's Box," warned
Dean. "That would be a good name for
her, Pandora," said June. And "Pan-
dora" she is — but without causing
trouble.

Summing up their marriage, Dean
says, "A lot that goes on around this
house would make good material for a
domestic comedy series ... I mean, we
spend a lot of time laughing. . . ."
It's no wonder that the warmth of the
Harenses' laughing, loving, eventful
partnership is sensed and heartily ap-
plauded by the viewers of The Brighter
Day.

Give

The UNITED Way

Cut Out All That Jazz

(Continued from page 21)
his pals on the block, knew more about
Western lore than his father and quick-
ly set out to correct him. "Say, Dad,
you're all wrong — look at those dia-
monds on the lady who runs the dance -
hall, look at the big roll of bills on those
bad men! Oh, Dad, why don't you cut
out all that jazz?"

In another household was David, also
a junior TV viewer and the possessor of
the most splendid collection of toy pis-
tols East of the Pecos — his parents have
spent close to seventy dollars on make-
believe guns and holsters since David
began watching Westerns. David and
his pals went around the block like a
posse of vigilantes from Bonanza.

On one occasion, David's father de-
cided to call a halt to his son's gun-
shooting expeditions on the quiet streets
of Scarsdale. "David, do you know that
cowboys who live by guns die in their
boots at Thataway Gulch — they don't
even get decent burials?" David looked
at his father undismayed and reached
for the current word of derision: "Dad,
you're all wet and I think it's a lot of
jazz what you are saying. Where did
you get that malarkey, pardner, that
they don't bury them? I've seen piles of
Westerns where the marshal buries the
bad man!"

Jimmy, a lad from Westport, Con-
necticut, is nuts about magic. He scans
the program logs of his favorite news-
paper in hopes of stumbling on any
program featuring legerdemain, no mat-
ter how insignificant. Jimmy wouldn't
give a hoot for Westerns but any pro-
gram that mystifies and mesmerizes is
bound to get his attention. His father
has put-chased several hundred dollars'
worth of tricks for Jimmy's benefit.

jl ou can imagine what happened to
Jimmy when he raced up and down the
small-type listings in his local news-
paper and discovered that Mike Wal-
lace was going to interview Milbourne
Christopher, the polished magician, on
PM Eastl The only drawback was the
hour: It was slated for eleven o'clock,
and Jimmy's usual bedtime was nine-
thirty.

At the dinner table, Jimmy noncha-
lantly announced that he was planning
to stay up for the magic show. "Have
you done your homework?" his father
asked. "And you know you should be
in bed much earlier."

Jimmy began to scowl. "Okay, okay,"
his father capitulated, "you can watch
the program, but tomorrow you must
be in bed at eight-thirty."

Jimmy had an exhausting time stay-
ing awake until Christopher appeared
on the screen. But, the moment the
program began, his energy was com-
pletely restored. And when Christopher
told Mike that he was going to cut a

lady in half — nay, in threes — Jimmy's
eyes practically went into orbit. Chris-
topher, however, never carried out his
promise to saw the lady into three parts
because time was running out. The
magician proposed to perform the il-
lusion on another occasion.

Since then, Jimmy has been fran-
tically searching the TV listings for
Christopher's return — meanwhile re-
assuring his father that Christopher
won't really harm the lady. "You know,
Dad, it's a fake. It's done with one or
two ladies, depending on the magician,
and with a razor blade hidden in the
hand of the lady tied up in the box."

Youngsters of all ages are infatuated
with the production of The Flintstones,
each episode of which costs $65,000 to
produce. Surveys have shown that chil-
dren will watch cartoons over and over
again, each time with glassy-eyed re-
ceptivity. This, however, is not true of
The Flintstones — this reporter's survey
reveals that it is greeted with the en-
thusiasm children usually reserve only
for a super-duper royal banana split.

Joe Barbera, who is responsible for
the creative end of The Flintstones,
remarked recently: "Cartoons have
changed. They've grown up. It is very
difficult now to write just for kids. The
kids today are too smart. We use up-
dated dialogue, s updated situations.
Right from the start, we steered away
from the icky, juvenile stuff of the past."
As a result, The Flintstones has a fol-
lowing from six to sixty.

Opined one tousle-haired ten-year-
old from Levittown, Long Island:
"Yummy, yummy, yummy! The Flint-
stones^. They're cute! They live in the
Rock Age! They are cavemen! They are
like cartoons! It's a Suburban Rock Age!
It's a half -hour program! It's on at
eight-thirty! It's keen! It's yummy!
That's all!" This is the manner in which
most of the youngster generation ap-
pears to express itself about television
programing today.

Sonny Fox's Wonderama on Station
WNEW-TV appears to be the favorite
of many children in the New York area.
Youngsters grab pen and pencil when
they sit down to watch Massa Fox's
goings-on. They jot down the jokes
heard on this program, then try them
on their parents at dinnertime. It is
not unusual to have Mother and Dad
turn to their progeny and say with
resignation: "All right, Joanie — or
Janey — or Johnny — let's have the joke
and then eat your beef pot pie."

Social scientists agree that many
children use television programs "as a
convenient kind of tranquilizer to help
soothe life's stresses and strains." And
mothers also consider TV an invaluable
aid in keeping their children occupied.
Recently, when her TV set was "roll-

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ing" and "'snowing,'" one frantic mother
telephoned her TV service man. "This
is an emergency! Please come as soon
as possible. I have a five-year-old and
a three-year-old."

The TV breakdown was as frightening
to her as might be the discovery that
both children had suddenly contracted
the mumps! There is no doubt that
television programs create havoc with
mealtimes and bedtimes, but the sur-
cease that parents get while the young-
sters are steeped in the goings-on of
Captain Kangaroo, Lassie or Father
Knows Best is well worth the price it
may exact on a child's ultimate be-
havior.

We interviewed Barbara, an eight-
year-old imp with wide open spaces
between her teeth. She was busily en-
gaged in sucking on a brown-colored
icky-sticky pop called "Sugar Daddy."

"Do you watch television programs?"
we queried.

"Thousands of them," Barbara re-
plied, taking another lick on "Sugar
Daddy."

'"Can you name two programs?"

"I don't know," she said, obviously
bored with the interview.

'Do you like Westerns?"

"Unh-uh," she said.

"Not even one Western?"

"Nope!" she asserted.

"Don't you like cowboys and Indians
on television?"

"Too much nose-punching."

"How do you feel about Shari Lewis?"

"Oh, she works the puppets good!"
she said, brightening.

"Do you like cartoons?"

"I don't know," she shrugged, as
"Sugar Daddy" grew smaller and
smaller.

Many children, among those inter-
viewed by this reporter, professed af-
fection for the Westerns but allowed
that they woke up in the middle of the
night disturbed over what they had
seen. Said Gregory, wearing a two-gun
holster, a marshal's badge, a Stetson
hat, cowboy shoes and recent scratches
on his dirt-streaked face: "I love Jim
Bowie. It has bad Indians and good
Indians. Jim Bowie uses a knife. I like
to see cowboys beat the Indians. Indians
are not nice to people. They take people
away. They kill people. Well, that's all
I can think of. I dream about the shows.
You know, good Indians kill bad In-
dians. You know, we have a half-
Indian on our block. A half great-great-
grandma."

"She belongs to what tribe?" we
asked.

"She's a good Indian," Gregory said

with assurance. "Say, do you know that

Bowie uses a knife? You can throw

t farther with a bullet but you can't duck

from a knife."

"How do you feel about Wagon
Train?"

"I like it," he said. "It has cowboys
and good Indians and wagons and
prairies and bad cowboys and robber
cowboys. They have good cowgirls, too;
bad cowgirls, good girl Indians and bad
girl Indians. And I like 'The Long Ran-
ger' (The Lone Ranger). He's a good
man. He's the sheriff's friend. He has
a black mask around his eyes so people
don't know who he is. The most fight-
ing is in 'The Long Ranger.' They fight
with bare hands and guns. They also
fight with knives. Mostly with bare
hands and bows and arrows. The Long
Ranger's friend is Tonto. He's a nice
fellow. Shari Lewis is not my favorite.
My favorite one is baseball games. Shari
Lewis doesn't have good things for me.
Not in my way. I have other favorites.
The Three Stooges with Moe, Larry and
Curly. Well, they are funny people.
When Curly and Larry do something,
Moe smacks him. Very funny! Say,
mister, do you want to play checkers?"

V\ e discovered that many children
are as cynical as Madison Avenue huck-
sters when it comes to believing tele-
vision commercials, particularly the
toy commercials. "Who would want to
buy that?" a disillusioned six-year-old
remarked after looking at one. "It'll fall
apart after one hour!"

Said a young lady, eight years old,
"I like some commercials. Especially
the Winston one — you know the one I
mean: 'Winston takes good, like a cig-
arette should . . .' I sing it to my little
brother before he goes to sleep. My
friends and I also sing the Doublemint
Gum commercial. Oh yes, I love the
Sun Kissed Frozen Juice Bar commer-
cial and the Beech-Nut Fruit Striped
gum commercial. That's a keen one,
you know. Real neat."

Dennis The Menace also racks up an
impressive score among the young fry
of today. Said a fledgling: "It's funny.
He's got into all kinds of trouble. I
wouldn't like to have Dennis for my
brother. He cuts off a doll's hair. There's
a boy on our block called Dennis and
my mother calls him Dennis, the Men-
ace. He's a stinker, Dennis on my
block."

Significant was the fact that The Un-
touchables was not on the preferred list
of teenagers interviewed by this re-
porter. Said a young lady of the pony-
tail platoon: "My favorite is American
Bandstand with Dick Clark." Five
other teenagers, standing by, swooned
in ecstasy: "Dick Clark is upmost. Real
upmost."

Teen-agers also watch wrestling,
Lassie, Father Knows Best, 77 Sunset
Strip, Rescue 8 and a fair sprinkling of
Westerns. Several young feminine view-
ers said they knew wrestling matches
were phony but, nonetheless, enjoyed
watching them.

Evidently, there is program moni-
toring on the part of many parents who

do not want their children to encounter
too much "violence" and "rough talk."
In many instances, the law is laid down
emphatically by parents: Children can
watch certain programs, or certain
types of programs, and there is no
deviation from this ukase in these par-
ticular households.

Parents, it appears, agree with Marya
Mannes, The Reporter staffer who re-
cently did a piece of Orwellian "fan-
tasy" writing in which she told what
transpired in "1965" when the F.C.C.
was completely reorganized and new
rulings were promulgated doing away
with crime and violence programs.
What brought about the change was
"the discovery of trigger mortis in a
number of American children born in
widely separated areas. In this malfor-
mation, the index finger is permanently
hooked, forcing partial contraction of
the whole hand in the position required
for grasping a revolver. 'The gun,' said
a distinguished anthropologist, 'has be-
come an extension of the American
arm,' " Miss Mannes wrote.

Trigger mortis, shmigger mortis, most
kids (we discovered) were inclined to
pooh-pooh their elders who blamed
television for the upsurge in juvenile
delinquency. Today's breed of young-
ster, on the whole, wonders what all
the fuss is about.

Meanwhile, the networks are slicing
the violence quota violently in the up-
coming fall and winter program struc-
ture. Said Dorothy Brown, director of
continuity acceptance, Western Divi-
sion, ABC-TV: "Writers have gotten
into stories of emotional and mental
violence, rather than physical." Said
William Tankersley, director of pro-
gram practices, Hollywood, CBS-TV:
"Enough people are concerned so that
the message has soaked in. Our work
is being done for us."

Similar views were expressed recent-
ly by Robert Wood, manager of broad-
cast standards, NBC -TV, Hollywood:
"TV didn't do any plays about planes
being hijacked," he said. "The most
recent hijackers read about the first
such incident in the newspapers. Why
don't they say — with the same logic —
that the newspapers are inciting people
to steal planes?"

The question of violence on tele-
vision was put to a Brooklyn Huckle-
berry Finn. Said he, as he hurriedly
placed two cowboy pistols into the
bulging midriff of this reporter: "Bang!
Bang! You're dead! May I have fifteen
cents for a Good Humorette?"

If this be errant youth bent on mis-
chief, make the most of it. The truth is
that today's youth, in the main, will
most likely grow up to be eminent
dons — Oxford or Ameche— despite what
the pecksniffs, moralists and other
brick-throwers are saying about the
picture content on the home screen.

Ann-Margret: The Female Presley

(Continued from page 18)
tight pants and a sweater!" Dark hair
flying, green eyes flashing, Ann-Mar-
gret sang and danced with an erotic
abandon which taxed the credulity to
realize that, off-stage, this same girl
was a demure, soft-spoken young coed
who majored in nothing more esoteric
than speech and cheerleading.

Her clinging, elasticized capris em-
phasized the sinuous movements of her
graceful legs, and her form- caressing
orange sweater projected a fiery blur
of uninhibited showmanship as her
guilelessly sensuous style electrified
the audience. "By heavens," cried a
mesmerized man at ringside, "she's a
female Elvis Presley!"

Her performance was the talk of the
Sahara. Before the eleven-day engage-
ment was over, "the college-bred fe-
male Elvis Presley launched by George
Burns" was the talk of the Las Vegas
Strip. "For the most part," Ann-
Margret says candidly, "it was a ter-
rific reaction, but some women — it's
always women — would object and say
my singing was a little raw. They
don't like the way I move in tight
pants, but it doesn't matter to me."

Ann-Margret has unveiled a style
which makes women feel threatened
and men feel renewed. It is a style
which moved one studio biographer to
describe the twenty-year-old beauty
from Winnetka, Illinois, as "a maidenly
mirage whose graceful, daring move-
ments entice and excite ... in person,
she is the clean-cut, all-American girl
next door ... in front of an audience
or a camera — a temptress, tantalizing
and tempestuous."

The parallels between Ann-Margret
and her provocative male forerunner
are striking, both on and off stage.
Basically, what they have in common
is that both are natural phenomena as
performers and as people. Ann-Mar-
gret is an uninhibited Swedish night-
ingale. (She was five when she
migrated to the United States from
her native Stockholm.) But off-stage —
like Elvis — she speaks so softly that
one has to cock an ear to hear her.
She is unaffectedly deferential to her
elders: George Burns is Mr. Burns;
Frank Capra, her director in "Pocket-
ful of Miracles," is Mr. Capra; Bette
Davis, her benefactor on the set and
her mother in the script of "Pocketful,"
is Miss Davis.

Nor are those the only particulars in
which she is an authentic Presley rep-
lica. Like Elvis, she's an only child of
a moderate-income family and has for
her parents, Gustav and Anna Olson,
the same devotion Elvis always has
had for his. She shrugs off her critics
with the same philosophical indiffer-
ence. She is, in short, a natural, politely
outspoken, unspoiled, God-fearing,

people-liking, friend-cherishing young
lady.

Although so many of their manner-
isms and qualities are uncannily alike,
Ann-Margret — her long tresses now
strawberry blonde for her part in
"State Fair" — never strove to be a
female counterpart of Elvis and is
only amused at the comparison. "I
don't see where people get the idea,"
she laughs modestly. "I've never seen
him perform, in person or on the
screen, never. I've always wanted to,
but I've never even seen him.

"It's funny, too, because we're both
with RCA. In fact, when I was at Para-
mount for 'Pocketful of Miracles,' he
was there doing 'Blue Hawaii.' But I
was afraid. I was afraid to go there and
watch him. I was too nervous to be
introduced to him, and I could have
been introduced to him."

She finds only one solace in the com-
parisons, odious or otherwise. "They
never compare me to a girl — which is
good. Very good. People used to tell
me I was like Bobby Darin. Now they
insist I'm like Elvis Presley. At least,
in one way, I'm a natural 'opposite.'
Well, I mean I'm a girl. I've heard him
sing on records, and I love him. But, as
I say, I've never seen him perform."

This happy and surprising circum-
stance, of course, gives Ann-Margret
built-in immunity from any dark sus-
picion that she may have set out, by
conscious imitation, to become a fe-
male Presley. Interestingly — and again
like Elvis himself — she is unable to
explain what happens when she cuts
loose on stage. As in the case of Elvis,
her reserve falls away and her per-
formance just happens.

"I don't know," she ponders. "I just
move when I sing. I do what I feel like
doing. I just let go. I'm very free. I
just don't think of what I'm doing. I
sing the lyrics, and whatever I feel in-
side comes out in my movements. I
don't think it's good to analyze it. You
become self-conscious that way. You
lose the freshness of it."

The one place where Ann-Margret
and Elvis part company is that Ann-
Margret (thanks to the sacrifices of
her parents) had years of formal train-
ing in singing, dancing and playing the
piano. Fortunately, her natural style
was not smothered by all the tech-
nique, but how her flamboyant convo-
lutions evolved is an abiding mystery
to her — aside from her acknowledge-
ment that it is a release of "something
that must be boiling inside me." How-
ever, there are interesting clues.

Although Ann-Margret didn't sing
professionally until she was seventeen,
and didn't begin lessons until she was
thirteen, she did her first singing at
the age of four — and movement was
distinctly a part of it. "My uncle would

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play the accordion, and my mom would
teach me little Swedish songs. She
would move around and I would imi-
tate her and move around, too."

When, at thirteen, she began her
five years of study with voice teacher
Mildred Davis in Chicago, Miss Davis
nursed the youthful fire instead of
quenching it. "She made my voice a
lot stronger," Ann-Margret says grate-
fully, "but she never, never restrained
me with my style. We would always
have about a half-hour of vocalizing.
Everything would be very strict, and
then she would say, 'Let go. Don't you
dare think about our exercises when
you perform.' She's great — great."

But Ann-Margret was not yet an-
other Elvis. During the summer vaca-
tion from New Trier High School in
Wilmette, she got her first professional
opportunity. She filled in, on a few
hours' notice, for an absentee vocalist
with Danny Ferguson's band in Kansas
City, Missouri, some nine hundred
miles from her home. Her reception
was warm, but there was no hint of a
budding female Presley. "I wore frilly
dresses, and I just stood up at the
mike. I couldn't move. The dresses
wouldn't let me. Then there was only
this little platform, and I had to stay
in one spot."

It remained for one of those happy
accidents of show business for George
Burns to recognize Ann-Margret's pos-
sibilities as an undulating show-
stopper in the Presley tradition.

During summer vacation from
Northwestern, she had invaded Cali-
fornia as the vocalist with the Subtle
Tones, a campus combo consisting of
Scott Smith, a pianist, a bass player
and a drummer. The group had indif-
ferent luck with a smattering of en-
gagements in Long Beach, Reno and
Elko. When fall came, the bass player

and drummer defected back to North-
western. Ann-Margret and Smith, less
easily discouraged, remained.

Ann-Margret's confidence and en-
thusiasm generated their own good
fortune. On an intended interview for
"West Side Story," she was sent to the
wrong address and ended up at Pierre
Cossette Enterprises. Captivated Bobby
Roberts, vice-president of the agency,
auditioned Ann-Margret with Cossette.
They flipped and undertook her man-
agement.

When Roberts arranged an audition
for George Burns, who was about to
open his revue at the Sahara, Ann-
Margret showed up in what she has
come to regard as her "good luck" out-
fit. It was the same five-dollar orange
sweater she had been wearing when
Roberts discovered her. She wore it
now primarily for comfort. However,
the effect on Burns was powerful. He
decreed that she be similarly adorned
when she opened with him at the
Sahara, and she has been hailed as a
female Elvis Presley ever since.

"They didn't have a piano in the
office," Ann-Margret recalls the his-
toric audition at General Service Stu-
dios in Hollywood, "so we went to this
old warehouse on the lot. They have
this piano there, and we had to take
bird cages off it, dust it and every-
thing. Scott Smith was with me, and he
started playing. Mr. Burns and his
brother, Willie, sat on a crate, watch-
ing me. While I was singing, all the
janitors and people who worked there
were running around, looking."

While it is clear that any similarity
between Ann-Margret and Elvis Pres-
ley is purely coincidental, she con-
sciously identifies with him in many
ways, and makes no secret of her feel-
ing of affinity. "I admire him, I really
do," she avers. One of the chief reasons

Hollywood's newest bombshell dates Hollywood's best
bachelors — here, it's Gardner McKay with Ann-Margret.

is the unashamed love Elvis always has
shown for his mother, now dead, and
his father, since remarried. This is
something she understands because of
her affection for her own parents, who
have stinted and struggled without
complaint, ever since they came to this
country, in order to permit her to try
to make her dreams of show business
success come true.

Like Elvis, Ann-Margret thinks of
making good, now that it is at hand,
mostly in terms of how it will enable
her to care for her parents — who pres-
ently share her one-bedroom Beverly
Hills apartment. "I've always wanted
to help them," she says earnestly, "be-
cause they've never had anything.
Lord willing, I want to buy a home for
my parents because they have never
had one."

Ann-Margret is at an age that en-
titles her to freedom and independence.
She is old enough and solvent enough
to set her folks up in one apartment
and to live by herself in another. But
she refuses to consider moving out on
them. "I don't want it that way," she
says feelingly. "We have too short a
time on earth, anyway, and too short
a time to be with our parents. You
should treasure the moments you have
now, and live with them."

Nor is this merely a passing philo-
sophical fancy. "We had quite a scare
recently," she reveals, a telltale catch in
her voice. "My daddy had a stroke a
month ago, when I was here and he
was in Chicago. That's when we found
out it wasn't worth it to live apart.
So Daddy quit the electrician's job he's
had all these years, and he moved out
here. He can't work until December. It
was a very harsh warning that we
should all be together, and take the
time now because we might not have
it later."

A flickering of tears awash in her
suddenly unsteady voice, Ann-Mar-
gret expresses, Presley-like, her grati-
tude that the crisis found her in a
position to take care of her father and
to be with him. "I'm a very firm be-
liever in what God has to say. If He
wants me to help my parents, if He
wants to give me the money to help,
it's fine. If something else happens,
you know, I could go to work doing
something else. And Mom could go to
work. Whatever we can do, we will do."

It's not alone because of his filial
devotion that Ann-Margret respects
Elvis. "That's just one of the reasons.
He's very humble, from what I've read
about him, and what I've been told
hy people in RCA who know him very
well. They say he's very kind, very
considerate of other people. He doesn't
drink or smoke, either."

The same virtues of kindness and
abstinence are ascribed by those who
know her to Ann-Margret. But, like
Elvis, she does not sanctimoniously

inflict her standards on others. "I don't
look down on people who do drink and
smoke. It's just that I don't care to
drink. When I go to parties, I never
fake it. I ask for ginger ale."

As much as anything else, Ann-
Margret esteems the way Elvis has
risen above his critics. "He was called
obscene and everything else," she
notes, "but now he's a millionaire. He
didn't care who called him that. They
kept on banning him here and there
and everywhere. He just kept on, and
he didn't change."

Presley's example gives Ann-Mar-
gret heart when the going gets rough,
as it sometimes does. A recent case in
point was a charity performance she
gave at the Beverly Hills Hotel. After
the show, a man told her, "Honey, I
had to come up here and tell you that,
while you were up there, I could have
hit every woman who was talking.
They were talking to their husbands
because they didn't want their hus-
bands to look at you."

Ann-Margret mentions the incident
with a contemplative smile. "I thought
to myself, Bless this man for telling
me this. It gave me all the more reason
to just go out there and let 'em have
it. And I'm not aiming just at men. I
want to make everyone happy. I want
them to feel — how do you say? —
alleviated.

"I've gone into night clubs and have
seen acts that are dirty, everything is

just filthy," she nods sadly. "You go
out of there, feeling like you've been
dragged through the mud. But I've also
gone into places where there's a Lena
Home — there's a woman who's fantas-
tic!— or a man like Sammy Davis Jr.
You just go out of there, singing songs,
and you say, Wasn't that wonderful?
Gee, they made me feel great."

Ann-Margret looks up with a trust-
ing smile. "That's how I want to make
people feel. I want to give them a lift.
Audiences have to be shown some-
thing that makes them feel happy, that
makes them forget their problems."

Meanwhile, despite feminine hostil-
ity and jealousy, Ann-Margret is de-
termined to follow Presley's example
and not knuckle under to her detrac-
tors by censoring her performance. "It
would really be cheating people to
change my act. I feel almost every
person has something within them and
they'd just love to show it. They want
to see someone else do that. It en-
courages them. It makes them say,
Gee, maybe I can do the same.' It
doesn't have to be in show business. It
can be in any business. A businessman
might come away saying, 'I'll tell that
boss, I'll do my best, and I'll make
something of myself.' "

So speaks — and so thinks — the fe-
male Elvis Presley, one of the most
promising and disarming distaff per-
sonalities to dance down the Holly-
wood pike in many a month.

Born 5,000 Years Too Late

(Continued from page 31)
interfered. She wanted security for her
daughter and I told her I couldn't
promise her this. The girl got what she
wanted. She married a doctor.

"The second girl I was serious with
lost herself in me. She wanted so much
to do everything I wanted that, after a
while, she had no identity of her own.
She'd say to me, 'What do you want
me to do? How do you want me to
act?'

"This is one of the most difficult
parts of my personality — I'm too
strong. People seem to want me to
lead them, to tell them how to cope
with life. They follow me like some
Pied Piper. In New York, there are
seven or eight men and women who
just follow me around. Soon they lose
their own identities in me and I have
to chase them away. I have to turn to
them and say, 'Beat it — solve your own
problems.' That's how I lost girl num-
ber two.

"The third girl, I loved." George's
voice softens as he becomes lost in a
special memory. "She was tiny and
sickly. I loved her and wanted to take
care of her, but she couldn't leave her
religion and I couldn't join her faith. I

would have been living a lie." He
pauses for a moment and a ghost of a
smile plays at his lips. "She got mar-
ried a while back, but she didn't in-
vite me to the wedding."

George's opinions of women and how
they should be treated make it under-
standable that he has yet to find a girl
to share his life. His views also explain
why he believes himself to be a rein-
carnation of a caveman. "I don't be-
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"The reason there are so many un-
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she is allowed. She's testing him. And
the more a man puts up with, the more
a woman will test — and the more un-
happy and neurotic she'll become."

The more he expounds, the more ob-
vious it becomes why George hasn't
found many female followers who
agree with his old-fashioned view-

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point on the relationship between the
sexes. "I see women around who try
to impress with their intellect and
their strength, but they can't fool me.
Their eyes give them away. They seem
to be begging to be treated as women
once again. Why can't men understand
this? Why don't they have the guts to
straighten their woman out, when she
gets out of hand? Why are they afraid
to be truthful to what, underneath,
they really think is best for what's sup-
posed to be the weaker sex?"

The word "truth" occurs frequently
in George's conversation and it be-
comes evident that this is a word he
lives by. It encompasses his relation-
ship with men, his relationship with
women and his relationship with love.
"'Love must be a truthful thing," he
exclaims. "Love shouldn't be all sun-
shine and roses. Sometimes it has to
rain or grow thorns.

"It might hurt to probe and find the
true meaning of the relationship, but
love can't survive without it. It's al-
most like building a boat. You can't
be afraid to put it in the water for fear
it will sink! If it does spring a leak,
you must patch it — and often you'll
find it then becomes stronger than it
was at first."

George's travels, too, are a search
for basic truth. He has roamed over
most of the continent, hitchhiking as
far as Cuba and Canada — whei'ever he
can be alone and feel free. His dislike of
cities is another subject he is not hesi-

tant to talk about. "I feel cooped up,
unimportant, crowded. There are mil-
lions of people around, but you don't
know — really know — anyone. When
I'm on the road, I get to know people,
to see how they live and what makes
them different. And I feel independent
and free."

Why freedom and independence al-
ways have been so important to him is
something George can't explain. "From
the time I was a kid, I've felt like this.
I'd never join a gang, even if it meant
fighting the gangs to be left alone. I
could never be part of anyone else,
and I couldn't ever ask for help. I re-
member, once when I was a kid, I went
swimming and got caught in a whirl-
pool. I felt myself going under but I
kept saying to myself, 'Don't call for
help. Do it yourself. Don't let anyone
help you.' Finally the water tossed me
around and threw me up on the shore.

"Another time, I was playing foot-
ball for my school team. I got a blood
clot in my leg and, as I sat on the
bench, the pain began to kill me. But I
couldn't tell anyone about it. I don't
know why. I waited until after every-
one had left the field and it was dark,
before I literally crawled to the dress-
ing room by myself."

George recalls other times when
something inside him made him fight
for his independence. When he was
ten, he broke his arm and was taken
to the clinic to have it set. He couldn't
tolerate what he felt was the patroniz-

ing attitude of the doctors and nurses.
When they told him they couldn't give
him an anesthetic without his parents'
permission, he refused to give their
names — and had the doctor set the
break without anything to ease the
pain.

A week later, when his father gave
him fifty cents to take the streetcar
back to the hospital to have his arm
rebandaged, he took the money, went
to a drugstore, bought the necessary
supplies and bandaged it himself. "I
couldn't and wouldn't ask them for
any more help."

Why George feels he must fight to
exist is another compelling drive he
can't explain. In truth, he does bring
to mind someone from ages past who
must eternally prove and re-prove his
courage and strength in constant battle
with his enemies. While this modern-
day caveman's foes might be only
imaginary, he does see in society, as a
whole, an adversary against whom he
must carry his banner, set his lance
and charge, crying: "I must be free, I
must be a whole man."

Since his charger on these crusades
for independence takes the form of a
shiny new automobile instead of a
horse, George will admit that he isn't
enough of a nonconformist to travel
around the country on a galloping
white steed.

Even George Maharis, 20th-century
caveman, has to make some compro-
mises.

The New Champagne Lady

(Continued from page 28)
only lightly over some of the other
worlds which also fascinate boys. To
her, at that time, the world of science
meant only assignments in biology or
physics classes, things to be committed
to memory just long enough for tests to
be passed . . . not things that were of
any real interest.

She's found out differently, through
her boys. Particularly with No. 2 son,
Mark, who is the Mr. Inventor of the
family. "Name something scientific, and
Mark has a passion for it," Norma de-
clares with no little awe. "It was Mark
who really opened the world of the
microscope to me. It had all been a
mysterious mumbo-jumbo before. But
we bought Mark a good microscope, and
he showed me how to study the slides.
Now I find myself hunting up unusual
specimens for him to make slides with —
or series of prepared slides which will
intrigue him.

"He's even taught me to overcome
my innate feminine horror of specimens
pickled in formaldehyde. When the
bobby shops came out with plastic bags
filled with long-dead fish, frogs and
starfish, all floating in formaldehyde, I

blithely bought every one I could find.
Years ago, I would have run in the op-
posite direction — and probably lost my
lunch, as well. Which just proves, I
guess, that, to be the mother of boys,
you've got to develop a strong stomach!

"Mark has also stimulated a strong
interest in all of us for geology and
rock-hunting. To me — up to the time
Mark got interested — a rock was just
some bothersome thing we had to move
to clear a patch of ground for a flower-
bed. Now I find myself inspecting any
strange-looking rock, and trying to fig-
ure out if it's sedimentary, or meta-
morphic — whether it contains metallic
minerals, or possibly gem minerals. All
that would have been Greek to me,
back when I was Mark's age.

"And, to paraphrase that famous ad-
vertising slogan, I've also learned never
to underestimate the resources of the
young! Mark has come up with some of
the most fantastic thingamajigs and
whichamabobs you could ever imagine.
No one says to him, 'Go and invent
something that does thus-and-so.' He
just gets an idea and off he goes . . .
and, first thing you know, he brings you
this machine, maybe built of rubber

bands and paper clips. He's getting in-
terested in electricity and electronics,
and is fast moving out of the paper-clip
and rubber-band stage of his inven-
tions. I do believe his idea of heaven
would be to be turned loose in an
electronics 'surplus' store, with a ten-
dollar bill all his own!"

Norma believes that watching bud-
ding enthusiasms like those of her sons
can teach any woman a lesson. "I've
watched so many women cleaning house
and blithely tossing into the garbage
heap all the things which seem to them
to be 'junk.' They view everything only
through their own eyes. I did, myself,
once upon a time. But now, before I
toss anything out, I find myself asking,
'Could Ronny or Mark find a use for
this?' And the folks who live in the
trailers in our court are getting in that
habit, too. If a clock seems worn out
beyond repair, they don't give it the
heave-ho. They save it for Ronny or
Mark, so they can salvage some of the
parts.

"It may sound crazy, but I think it
really adds up to a genuine interest in
other people, and a respect for the de-
sires and ambitions of others. And I

earnestly believe that a youngster with
a curious mind can get as much bene-
fit from puttering around with an old
clockwork or the discarded motor from
a lawn mower, as he could from ex-
pensive equipment! If that isn't a lesson
learned in basic values, it will do till
something better comes along."

It's lucky that Norma has always en-
joyed active sports and has always been
good at them. Because now. as a moth-
er, she has discovered a delight denied
more sedentary parents. She has learned
the fun of keeping young with her
children through spirited competition
in sports.

"I can still win, when the boys chal-
lenge me to a foot race," she chuckles.
"But I have a feeling it won't be so for
long. Ronny, at thirteen, is already as
tall as I am — and growing rapidly!
Those legs of his are stretching out,
and it won't be long before he can out-
distance me. The boys are already
pushing me hard in the swimming de-
partment, too. I may have been quite
the athlete, for a girl, back in my teens.
But the boys are working like Trojans
to see that I get shoved into my right-
ful, feminine place on the family team —
last place!

"Of course, my husband Randy is
magnificent on skis. We all head for the
snow eveiy opportunity we get. So far,
I can keep up with the boys, if not with
Randy. But that won't be for long,
either. I'll be trailing them all, in a
couple of years.

"It's a spot I'll slide into gracefully
and gratefully, believe me! I sometimes
wonder if there's any joy a woman has,
as complete as watching her sons ma-
ture into husky young men, mentally
alert and physically healthy. Some-
thing like that makes a woman really
count her blessings."

Probably the biggest lesson Norma
has learned from her two offspring con-
cerns the wonderful resilience of youth:
Their awesome ability to adjust and
adapt to circumstances, and their ability
to be happy with only the basic neces-
sities.

"When we lived in Flintridge, the
boys had a room which might have
been taken right from the pages of a
decorating magazine," she recalls. "Our
house was big, our grounds were big —
though I don't mean it to sound boast-
ful, the whole setup was what you might
call 'plush.' Then we sold that, and
sold Randy's business, put every cent
we had into our trailer court here at
La Habra . . . and borrowed more to

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make the improvements on the court.

"For a while, we lived in a ram-
shackle old farmhouse which remained
in the orange grove we were using for
the trailer-court grounds. I think the
boys were happier in the big old bed-
room in that farmhouse than they ever
were in the fine house in Flintridge.
The walls in their farmhouse room were
of plywood, and they could pin up pos-
ters and souvenirs wherever they
pleased.

"Then we moved into the trailer. We
enthusiastically endorse trailer living —
but for couples only! Trailers are much
too cramped quarters for raising a
family, especially active young boys.
Next move: A sort of penthouse apart-
ment, built over the recreation building
at the court. This means a private place
of their own, for the boys' studying and
their hobbies. But we've learned our
lesson — no more fancy decorating, with
our tastes imposed on the boys.

"On the surface, I suppose it might
seem that our two boys have put up
with a number of hardships. There are
no children living in our trailer court,
for instance — so any pals must be
chauffered back and forth from town,
several miles away. You might think
this would make for lonesome little
boys. Instead, it's made Ronny and
Mark much more self-sufficient. They've
found ways of entertaining themselves
... so it's turned into a benefit.

"Randy and I have never hired any
help to do the landscaping or mainte-
nance work at the court. Now that the
boys are older and stronger, they pitch
in and help — and I must say they really
are a help. And I'm convinced that they
are getting an inestimable benefit, find-
ing out what satisfaction there is, in
pulling together to achieve a mutual
goal.

"Because we've sunk all our funds
into the court, and want to get it paid
off as soon as possible, there's never
much extra cash floating around our
household. The boys, therefore, have
never been on allowances. If there's
something they really need, of course
we get it for them, somehow. But they
have matured sufficiently to understand
the why . . . and that we aren't being
stingy or hard-hearted when we fail
to dole out nickels and dimes indis-
criminately. And the little luxuries we
do manage are just that much more
appreciated.

"In other words, I've learned a lesson
denied many parents, I think. I've
learned that often the over-privileged
child is, in reality, under-privileged. By
their so-called 'generosity' — which is
really only over-indulgence — many
parents destroy the most valuable asset
a child can develop: Self-reliance. It's a
lesson I've learned through necessity,
and not from any great brilliance and
forethought on my part. But it's the
most valuable lesson of them all."

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Window On Main Street

(Continued from page 37)
the variety of circumstances and situ-
ations and locations and characters I
proceeded through before we got to
this guy," Bob says. This is not to men-
tion the crew cut, the mustache, and
even the Van Dyke beard he experi-
mented with before settling on the
bow tie and pipe as trademarks of the
new character. "Rodney almost fainted
when he saw the Van Dyke," Bob re-
ports with a laugh.

Rodney is Eugene Rodney, Bob's
producer and partner in Cavalier Pro-
ductions. The third man is Roswell
Rogers, head writer and story editor
on both the old show and the new one.
These three had been given carte
blanche on a new show. Despite the
fact that Father was in the top ten,
Bob and Rodney had decided to drop
it: It was becoming more and more
difficult for the writers to find new and
fresh involvements for the family and,
with the children growing up, the
whole image of the family was
changing.

CBS bought a show which didn't
exist and, by the time they sold it to
Scott Paper and Toni, they had only a
format — no pilot, no scripts, no cast.
By the end of April, Rogers had eight
scripts ready and they expected to go
into production by the first of June.
But, by the middle of July, not one
frame had been rolled. As Gene Rod-
ney said, "We're in good shape. We
have an organization, we have the sets,
we have the scripts. Unfortunately,
there's one ingredient missing: We
have no actors."

"We were looking for a particular
kind of a girl and a particular kind of
a man for supporting roles," Bob ex-
plains. "We interviewed some fine
actors and excellent actresses, but, un-
fortunately, they didn't coincide with
our preconceived ideas. I don't know
any better than anyone else what
makes a successful show, except that
there is one quality which is extraor-
dinarily difficult to define: Identifica-
tion. It begins with the writing. Some
writers are a little more perceptive.
They give their people qualities and
dimensions beyond the stereotyped
characters. People watching the show
can't tell you what it is; there's just
something about the characters they
like, something they recognize so they
are able to accept them as being real
persons.

"Alter the writer brings in a script,
it s the producer's turn to be percep-
tive. The successful producer is the one
who says, 'I want it worked on a little
more. It needs a little more finesse.'
Rodney often says, 'I think we make
H these things wrong. I put in fourteen or
fifteen hours a day, seven days a week.
I meel fellows in the business who get

their work finished in a normal day
and go to Palm Springs every week-
end!' "

Bob himself knows from long years
of experience how much hard work,
how much attention to detail, how
much of a team effort, are required to
produce a successful show — or, for that
matter, an unsuccessful show. Father
Knows Best was canceled after its first
year on TV, but then was brought back
and grew into one of the most popular
on the air.

"This is one of the faults of televi-
sion," he says. "I don't say that criti-
cally, because it is a fault which would
be difficult to correct. After all, a
sponsor spends five million dollars on
a show, and he has to have something
to justify this expenditure to his board
of directors. Very few shows have the
initial impact, that sock right out of
the bag, to get enough viewers quickly
enough to make the sponsor's invest-
ment worthwhile.

"This is a fantastically expensive
thing, and it is one of the real tragedies
that many shows could get over their

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rough spots in maybe six months and
become big. But who is going to pay
the bills for those six months? Who's
going to gamble several million dollars
that any given show might make it?"

Bob talks easily and liberally in an
interview. In their twenty-eight mar-
ried years, Betty has presented him
with four daughters, now ranging in
age from twenty-seven to fifteen. "If
anyone accuses me of talking too much,
I excuse myself by saying, 'In a house-
ful of women, what chance do I have?'
But Betty has only to say the word
'tape' and I shut up!

"One time, we were doing a taped
interview at home — actually, it was
supposed to be Betty's interview. How
does it feel to be a movie star's wife,
that sort of thing. On every question,
Betty would start out with a 'Well, I — '
and then I'd come in for two or three
minutes. For the whole quarter-hour, I
think Betty got out about five broken
sentences. So now, when I start out
with the 'what chance do I have' line,
she adds 'except on tape' — and you
know, I shut up. I'm silent for fifteen
or twenty seconds at a stretch."

If Bob can laugh at himself, he can
also look at our life and times realisti-
cally. When he was eight years old, he
was already contributing to his fam-
ily's income, working as a helper on a
horse-drawn grocery cart. As a teen-
ager, he was a soda jerk, a grease

monkey and a helper in the press room
of the Los Angeles Times. He could
certainly be excused for a jaundiced
view of today's teenagers who "gripe
when they haven't anything to do."

"I have a lot of sympathy and com-
passion for kids today," Bob says.
"They're living in a tormented world,
and I think they would be tormented,
anyway, just by the natural process of
growing up. Parents try to help and be
a comfort, but we, too, are caught up
in our own problems and worries.
Parents can be neglectful. They can
be constantly in the company of their
children, and still be neglectful.

"You have to find some area of com-
munication without being overly sym-
pathetic. Sometimes, though, I think
too much emphasis is placed on the
parental-neglect angle. It gives the
teenagers another out, another excuse
for not accepting the truth that each is
responsible for his own conduct re-
gardless of heredity or environment.
This is a hard lesson to learn.

"And it is a kind of goofed-up world
they're growing up in. There's a lot
of talk these days about tensions and
strains and stresses. It's not to be sug-
gested these are not true. When your
youngster asks you, 'Pop, what hap-
pens if they drop that big bomb?' — you
can't laugh it off.

"But my wife said something, one
night when we were all watching TV,
that makes a lot of sense, that brings
it into perspective. The program was
concerned with settlers crossing the
continent in a wagon train. It's dark.
They're camped for the night. The
viewer knew there were Indians out
there and the people were asleep. The
camera panned across the wagons to
one sleeper who suddenly awakens,
cocking his head, listening anxiously
for the slightest sound. It was deathly
still in the den. We were all caught up
in the suspense. Then Betty said, 'You
see now, there were no tensions in
those days.' "

There is one inviolable rule in the
Young household. "We have one sit-
down dinner together each week. We
try to have more, but other nights
there is apt to be homework, I'm late
on the set or there's a meeting to at-
tend. But Friday night, everybody is
there. It's a date. We all sit at the table
and have dinner together. Everybody
talks at once. I don't think it's what
you could call conversation. This is
me and five women all talking at the
same time. I think it might be more
accurately called 'bedlam.' "

What it really is, of course, is that
abiding interest in people which dis-
tinguishes such men as Robert Young,
"the other fellow" — and the new
novelist-hero of Window On Main
Street.

OAT THE RECORD

DECEMBER 1961

Don Mills
Music Editor

Today's Pop Music Is Here to Stay

• For some years now. observers of the
music scene have been predicting the
death of the current pop music fad. rock
V roll.

This whistling in the dark from some
of the nation's noted tunesmiths — most
of them disgruntled because their own
tunes aren't getting a hearing — has been
going on since 1953 when the first rock
'n' roll record started boxing the music
business about the ears. Though, ad-
mittedly, some of the singles have been,
and are, horrible examples of misdi-
rected or no-talent producers and per-
formers, the majority of single records
that have sold substantially are in tune
with the times. And, more important,
they have popular appeal. Teenager^
and young adults have accepted rock 'n"
roll as "their" music, and there's much
evidence that a large number of older
adults dig the new sounds. Radio, with
"'Top 40" programing has shown high
audience ratings during daytime hours
— when supposedly the only fans of
rock 'n' roll are in school.

In other words, we have to accept the
fact that rock 'n' roll — as well as some
country and western, rhythm and blues
and the hybrid "soul" sounds — are the
new popular music. These are the folk
tunes of modern America. Irving Berlin
once told Variety that, "Any song the
public accepts is a good song." The fact
that most of today's hit tunes are
dressed in upbeat garb and delivered
with "soul," or strong emotional im-
pact, doesn't mean they haven't honest
and basic musical value. The funda-
mental purpose of music should not be
overlooked: To produce a certain mood
or response. If a great number of
listeners are moved enough by a piece
of music toward their neighborhood
record shop to buy it. then that music
can be called a "moving performance"
— and a good song.

RAY CHARLES: THE GENIUS WITH SOUL

• Ray Charles, who started into his
teens as a blind Negro orphan boy —
certainly the proverbial "three strikes"
against him — is now one of the hot-
test artists in several musical fields.

Currently his single, "Hit the Road,
Jack," is still close to the number one
spot, and eight of his LP's are selling

ON FOLLOWING PAGES:

Recorded vs. Live Jazz . . . 80B

Listening Post 80C

On Record Guide 80D

Up V Comers 80F-G

Top Records of the Month . 80F
Most New Artists Should

Stay Single 80H

well enough to be on best-seller lists.

More importantly, Ray has brought
to the popular music field a new sound,
a new feeling. For lack of a more
descriptive term it is called "soul," a
recently overworked expression in both
popular and jazz circles. To say that
Ray originated soul in today's music
would be to deny the many great Negro
artists of the blues — including Big Bill
Broonzy, Ma Rainey, Joe Turner, Bes-
sie Smith, Jimmy Rushing — all a part
of Ray's musical heritage. But it is fair
to say that Ray's blues style has touched
the emotions of more people than any-
one before him ... in other words, he
has popularized "soul."

A magnificent example of the unique
talent of Ray Charles is now available
in his most recent album, entitled
"The Genius (Continued on 80H)

80A

OIW THE RECORD

Duke Ellington

Dizzy Gillespie

Dave Br u beck

RECORDED

vs.

LIVE JAZZ: Which Is BEST?

• Some say that nuances of musical
expression as well as the full power of
jazz can be best experienced in your
own living room, listening to the hi-fi
set. Others maintain that to get the
real feeling of jazz, you've got to go
to the clubs, the jazz hangouts, the jazz
festivals. It's true that jazz musicians,
and all musicians for that matter, try
to put their best efforts on record. But
at the same time, the uninhibited feel-
ing of working in a club, playing the
way he feels, often produces better jazz
from a musician than a studio session.
Many recent LP's attempt to bridge
the gap between live and recorded jazz
by presenting jazz groups recorded on
location.

In Columbia's two-LP set, "Miles
Davis at the Blackhawk, San Francisco,
Vols. I & II, Friday and Saturday
Nights" (Columbia 1669 and 1770),
pure jazz comes through in spite of the
surroundings. Although the trade maga-
zine Cashbox declared "the conviviality
of the Blackhawk guaranteed a relaxed
session," the club is still a smokey,
cramped outpost on San Francisco's
Turk Street, and for the average night-
clubber, not convivial. Nonetheless, on
the LP the excitement of a hip crowd
transmitted to trumpeter Miles Davis
has produced some particularly fine
jazz moments, as if he were trying to
outdo himself for his dual club and
home audience.

In "Ahmad Jamal's Alhambra" (Argo
685), there's a feeling of perfect har-
mony between musicians and their sur-
roundings, and not surprisingly, be-
cause on this LP we can hear the ful-
fillment of a dream. Ahmad Jamal
sits down at his own piano in his own
club (the new Alhambra in Chicago)
to play some of the most relaxed and
satisfying music, both for himself and
for his listeners, since his first success.

But purists will still cry: You've got
to hear the original sound, as it's cre-
ated. To a degree, this is true. At the
recent Monterey Jazz Festival it was
worth braving traffic jams, hot sweaty
afternoons and hordes of people to hear
such acknowledged jazz greats as J.J.

Johnson. Dizzy Gillespie, and Duke Ell-
ington offer their musical creations to
an appreciative audience. However, for
those not venturesome enough to hear
new jazz hot out of the horn, as it were,
there's ample representation of these
artists on record. Duke Ellington's "Sat-
in Doll." for example, which seemingly
was played every fifteen minutes, since
The Duke was master of ceremonies,
can be heard on a new collection of
vintage Ellingtonia. "The Best of Duke
Ellington'" (Capitol 1602). John Lewis.
who serves as musical director of the
Monterey Festival, is represented by
two new LP's, one featuring his com-
positions, called "The Jazztet and John
Lewis"' (Argo 684) and another, a
swinging session with John at the piano.
titled "John Lewis: The Wonderful
World of Jazz" (Atlantic 1375).

A special new package has Ellington
paired with Louis Armstrong (both
were at the previous year's Monterey
Festival) for the first time on record
(Roulette 52074). John Coltrane, who
essayed his classic "My Favorite
Things" (Atlantic 1361). is one of the
few musicians to have a working fan
club (based in San Francisco), and
Dave Brubeck is still selling his LP
"Time Out" (Columbia 1397) in car-
load lots.

The real difference between recorded
and live jazz seems to be similar to
that of seeing a famous painting, say
a Picasso, in a museum, and having a
faithfully reproduced print of it in your
home to enjoy every day. In listening
to live jazz you are searching for those
moving. exciting — and occasionally
great — moments, whereas in buying re-
corded jazz you are picking and choos-
ing those great moments for possession
and posterity.

John Coltrane

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THE LISTENING POST

• Steve Allen has returned to tele-
vision, and three of Steverino's past
sidekicks have recorded comedy LP's —
all just released by United Artists. Pat
Harrington, Jr. figures that "Some
Like It Hip." Louis Nye offers the
toast. "Here's Nye In Your Eye," and
Don Knotts (who's now Andy Grif-

Bob Newhart

fith's wonderful little deputy) humbly
suggests "An Evening With Me."

Premier of Bob Newhart's new
Wednesday night TV show on NBC co-
incided with release of his new War-
ner Bros. LP, "Behind the Button Down
Mind," which had an advance order of
200,000. Bob is the first comedian in
show business to become a star-type
personality through records, without
first appearing in a club or on the
vaudeville circuit, such as every other
known comedian has done. It's increas-
ingly apparent that the record business
has become the "spawning ground of
new personalities that will later be seen
on TV and the theater screen.

Leonard Bernstein will continue
his Young People's concerts this season,
on the CBS-TV network. The dates:
December 24, December 31, March 25
and April 8. And, of course, recording
sessions continue for Columbia — not
that he needs the work, with huge

royalties piling up from his score of
"West Side Story" which is getting the
LP treatment from all sides : The movie
soundtrack (Columbia 5670) looks like
a huge bestseller, and Stan Kenton,
the maverick of the jazz world, has
turned out a superb jazz version of it
for Kenton fans and the hip Afro-Cuban
jazz cult (Capitol 1609).

It's said there are more potential song
writers in the world than there are
songs. Capitol Records has come up
with a unique answer to the sing-a-long.
Theirs is called a "write-a-long" in the
new LP "Songs Without Words" (Capi-
tol 1601), in which they've gathered to-
gether a group of topnotch tunesmiths
to write melodies designed to set cre-
ative fires burning. It's a contest in
which you can win a $500 advance
against royalties and the chance to
have your song recorded by Capitol.

Elvis Presley sings 14 new songs in
his new LP "Blue Hawaii," which is the
soundtrack of his new movie . . . RCA
Victor has an LP out by Ray Ellis that
could well be called "Those Newies But
Goodies." A collection of top 20 tunes,
it's as up-to-the-minute as your TV-
Radio Mirror On the Record, including
versions — almost like the original — of
such recent favorites as "Michael,"
"Hurt." "Take Good Care of My Baby,"
"School Is Out" . . . you get the idea.

Steve Allen

80C

O! M Guilds

POPULAR

••••Here I Go Again, Eileen Far-
rell (Columbia 1653) — The show biz
truism that comedians want to play
Shakespearean tragedy and opera sing-
ers want to sing popular jazz is proven
again with Miss Farrell's second excur-

sion to the other side of the tracks,
where instead of giving the impression
she's slumming, as such an effort con-
ceivably could, she comes across with
a spirit and joie de vivre that might
well be emulated by many to today's
ultra hip and emotionally detached
femme singers. In fact, Miss Farrell's
performance should make many of them
wonder "what am / doin' here?" Every
track (excepting the over-worked "My
Funny Valentine") strikes the spark
of discovery with Miss Farrell com-
bining her obvious talent with the bright
and exceedingly complementary ar-
rangements of the Luther Henderson
orchestra, particularly on "Solitaire,"
and "The Second Time Around."

••••September In The Rain,

Dinah Washington (Mercury 20638) —
Dinah weaves a magic spell when she
sings, broken only when it's time to
turn the record over. Admittedly she
has great material to work with, includ-
ing "I've Got My Love to Keep Me
Warm," "This Heart of Mine," and "I
Can't Believe That You're In Love With
Me." The title tune is a hot single.

•••Breakfast At Tiffany's, Henry
Mancini (RCA Victor 2362)— This is a
major motion picture with the score
composed and conducted by Henry
Mancini who, from the sale of previous
LP's, can have all his meals at Tiffany's.
Like many records of movie scores, this
one will be helped by the visual imagery
that comes from, seeing the movie. After
the movie is released, sales of this
slickly conceived, brightly scored pack-
age are sure to soar.

•••Guitar Lament, Al Viola (World
Pacific 1408) — The guitar gains full
expression when in the hands of an
artist like Viola, who brings together
classical, flamenco and jazz influences
on such standards as "Black Coffee,"
"Lover Man" and ten others.

•••The New Andre Kostelanetz
"Wonderland of Sound" (Columbia
1657) — You used to be able to depend
on good oF Andre to supply smooth lush
orchestrations of semi-classicals, oper-
ettas, and standard melodies. But no
more. This LP is proof enough that
today's music is not yesterday's music,
when a conservative maestro like Kos-
telanetz decides not only to get percus-
sive but to tackle such tunes of recent
vintage as "Are You Lonesome To-
night?" and "It's Not for Me to Say."
The whole thing sounds as if he didn't
quite have his heart in his work, but
withal, it's a very commercial package.

•••Connie Francis Sings "Never
On Sunday" & Others (MGM 3965)
— Connie is also going to the movies
more for her material, all solid movie
hits, such as "Tammy," "Moonglow,"
"Love Me Tender," as well as the title
tune, which she sang at the Academy
Awards. Connie's fans won't want to
miss this one.

•••Rydell At The Copa, Bobby
Rydell (Cameo 1011)— In this, his
"transition" record, Bobby shows a
great flair for showmanship, putting
over "Old Man River" as well as some
well-wrought special material. It will
take a little while, however, for parents
to get hip to the fact that this isn't the
same Rydell they've been hearing on
their kids' record player, but _a new
adult, show-wise Rydell.

80D

***** OF* EAT!
*** GOOD LISTENING

****
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JAZZ

•**A1 (He's The King) Hirt And
His Band (RCA Victor 2354)— Self-
titled "king" Hirt has had a large
segment of the Dinah Shore TV audi-
ence rooting for him and his rooty-
toot Dixieland capers, a fact that does
not necessarily diminish his musician-
ship, but rather emphasizes his great
showmanship. He and Jonah Jones
have done more in recent years for
popular acceptance of the jazzy (as
distinct from jazz) trumpet than any-
one else in the field. Here's a jumping
LP for the new-style Dixie fan.

****Miles Davis In Person At
The Blackhawk, San Francisco

(Vol. 1, Friday Night, Columbia 1669;
Vol. 2, Saturday Night. Col. 1770) —
See story on Page 80B.

•••Feelin' Good, The Three Sounds
(Blue Note 4072) — Here is some happy,
yet for the most part, low pressure
cookin' by this young trio. With sub-
dued but driving force, the piano-bass-
drums combo delivers some close en-
semble work on alternating fragile blues
and bright up-tempo tunes. Bill Dowdy's
drums are too apparent on a couple of
solo flights, but generally pianoman
Gene Harris and bassman Andrew
Simpkins are to the fore, providing an
exciting session.

*^HHHkAhmad Jamal's Alhambra

(Argo 685) — The famous Negro artist,
who was converted to Mohammedan-
ism a couple of years ago, has had a
booming career ever since. Now owner
of his own Chicago nightclub, Jamal
recorded this album there. It is a must
item for Jamal fans. See story on Page
80B.

COMEDY

••**2000 And One Years, with

Carl Reiner and Mel Brooks (Capitol
1618) — This is the pair that unearthed
the 2000-year-old man, for hilarious re-
sults. Their sequel, which numerically
could easily start an infinite series, has
Carl again in the straight-man role,
with Mel Brooks turning his audacious-
ly creative mind to the peculiarly adult
problems of the "Two Hour Old Baby"
and the descriptive prowess of "The
Third Best Poet" ("I like melons be-

cause they're so . . . well, round, you
know, round!") An LP definitely not
for squares.

FOLK

****A Treasure Chest Of Amer-
ican Folk Song, Ed McCurdy (Elec-
tra 205) — Such popularizers of the folk
song as the Weavers, the Kingston Trio
and the Limeliters — in the order of their
acceptance and pre-eminence — have
given folk music new status. This dou-
ble-LP set (for the price of one) should
serve as excellent introducton to the
listener who would like to explore some
of the roots of our American folk cul-
ture. Included among the 34 tunes are
old chestnuts like "Roving Gambler,"
"John Brown's Body," and "Down In
the Valley," as well as more obscure,
regional tunes. Comprehensive but
succinct liner notes give additional
meaning to Ed McCurdy's faithful
recreations, aided by Erik Darling's
inspired banjo. Here is a chance to
hear the original version of such recent
pop tunes as "Boll Weevil," and "Be-
neath the Willow" and "Jesse James,"
which the new Kingston trio sing in
their latest album.

*-A"i*rThe Clancy Brothers and
Tommy Makem (Columbia 1648) —
When a quartet of Irishmen get to-
gether to sing the traditional songs of
Ireland there's nothin' to do but set
yourself down for a listen. It's enough
to warm the cockles of your heart, it 'tis.
Let's join the patriots in the first row,
shall we?

80E

ON! THE RECORD

TOP ■Jll RECORDS

UP 'N' COMERS

The Paris Sisters

aop

• These three talented girls are not
one-shot flash-in-the-pan performers by
any means. In fact, they started their
show business career as a dance group,
touring with U.S.O. camp shows when
they were 13, 11 and 9-year-olds. This
valuable experience, and the acclaim
they received for their occasional sing-
ing, led them to concentrate on perfect-
ing a cohesive vocal style.

In 1952, while performing a series
of engagements in their home town,
San Francisco, they came to the atten-
tion of the Andrews Sisters, who in-
vited the Paris girls to join them on
stage. They went over so well with the
audience as kind of a junior Andrews
Sisters act, that a new nitery act was
born then and there, which went on to
appear throughout the country and
on TV.

After a successful nitery run with
the Andrews Sisters, the Paris Sisters
returned to local San Francisco Bay
Area engagements and their studies. A
year ago, they were brought to the
attention of Lester Sill, of Gregmark
Records, who gave them a recording
contract. The girls' first release was
"Be My Boy," which became a mod-
erate hit, although a smash in a few
areas, including their home town.

But with their second release for

the f/regmark label, the trio managed

to gain acceptance in all areas, and

"I Love How You Love Me," is now

if the top records in the country.

The girls are now trying to live down
junior Andrews Sisters" tag and
establish an identity of their own.

•Hottest LP! Stereo 35/mm, Enoch Light & His Orch. (Com-
mand RS 826 SD) — Some of the most brilliant sound ever recorded,
even if you're listening with only one ear. (Mono. — RS 33-826).

On the Record's monthly survey of the hottest new LP's
and singles lists those records showing the strongest sales
in retail stores, based on reports from manufacturers,
distributors, trade publications — including Bill Gavin
Record Reports, Billboard Music Week, Cashbox, and
Variety. -»

BEST SELLING NEW LP'S

Portrait of Johnny, Johnny Mathis (Columbia 1644) — That simulated
painting is sure-fire merchandising and, of course, Johnny's in good voice.
Jump Up Calypso, Harry Belafonte (RCA Victor 2388) — An accom-
plished musician serves up almost authentic West Indian song and
rhythm.

Oldies But Goodies, Vol. Ill, Various artists (Original Sound 5004)
— Listen dear, they're playing our song.

All The Way, Brenda Lee (Decca 4176) — A big voice and another
big seller for the diminutive thrush.

The Genius After Hours, Ray Charles (Atlantic 1369) — They laugh
and cry when soulful Ray sits down to play (See Review In Depth,
page 80A).

Sixty Years of Music America Loves Best, Vol. Ill, Various popu-
lar artists (RCA Victor LOP 1509) — The great million sellers from
Victor's catalogue of hits.

Sixty Years of Music America Loves Best, Vol. III. Various classical
artists (RCA Victor LM 2574) — Oldies but goodies from the classical
world, the golden voices and instrumental favorites of yesteryear.
Ebb Tide, Earl Grant (Decca 4165) — TV exposure plus talent equal
a best seller.

Limeliters (Electra 180) — Presenting popular folk music with wit
and sophistication.

Basin Street East Proudly Presents Miss Peggy Lee (Capitol
1520) — Miss Lee has a superb way with a song, and the nitery has a
splendid way of getting a plug.

Somebody Loves Me, Ray Conniff Singers (Columbia 1642) — They
certainly do, the way they're buying.

Ain't That Weird, Brother Dave Gardner (RCA Victor 2335)— Comedy
from south of the Mason-Dixon line captures the country.
Yellow Bird, Roger Williams (Kapp 1244) — Roger joins Arthur
Lyman and Lawrence Welk on the best seller list with the magic
title tune.

Rodgers: Victory at Sea, Vol. IIL RCA Victor Symphony Orch. (RCA
Victor 2523) — Stirring and melodic reminiscences of a time when, it
now seems, wars were fought with water pistols.
Pete Fountain's French Quarter New Orleans (Coral 57359) —
Now unfettered by Larry Welk's uh-one, uh-two beat, he's free to swing
straight two beat.

Hurt, Timi Yuro (Liberty 3208) — A big, mature style shoots this
newcomer right onto the best-seller list. She's got nothing more to
cry about.

Your Request Sing Along With Mitch, Mitch Miller (Columbia
1671) — And the gang's all here, watchin' that TV show and buyin' those
records and shakin' the rafters with song.

OF THE MONTH

• Hottest Single! Runaround Sue, Dion (Laurie 3110) — Dion's
most mature effort since he's been on his own, and a welcome relief
from his image as a "Lonely Teenager."

New Piano in Town, Peter Nero (RCA Victor 2383) — Victor's answer
to Columbia's Andre Previn styles some smoothly swinging tunes.
Close-up, The Kingston Trio (Capitol 1642) — The Kingston duo plus
one need this LP and luck to get their old fire burning bright again,
careful! . . . don't light three on a match.

THE HOT SINGLES

Hit the Road, Jack, Ray Charles (ABC 10244)— Another driving

vehicle for the Charles juggernaut.

A Wonder Like You, Ricky Nelson (Imperial 5770) — A good, but not

great, followup to his "Travelin' Man."

Fool No. 1, Brenda Lee (Decca 31309) — Little Brenda does it again,

clicking on the other side, "Anybody But Me," too.

Big Bad John, Jimmy Dean (Columbia 4-42175) — A moving folk

ballad forcefully handled by Jimmy, with stirring support.

I Love How You Love Me, the Paris Sisters (Gregmark 6) — An

appealing vocal effort by this talented threesome.

Sad Movies (Make Me Cry), Sue Thompson (Hickory 1153) — Sue

is believable in this real-life drama gimmick.

(He's My) Dreamboat, Connie Francis (MGM 13039)— Her TV show

gave her new fans who'll be saying she's their dreamboat.

Tower of Strength, Gene McDaniels (Liberty 55371) — Gene turns

in a strong performance, with great trombone backing.

What a Party, Fats Domino (Imperial 5779) — Fats has his driving

rhythm section and an exciting U.S. Bonds sound on this one.

This Time, Troy Shondell (Liberty 55353) — Troy's record was a

smash in his home-town of Chicago before the rest of the country finally

listened to his unusual sound.

Magic Is the Night, Kathy Young (Indigo 125) — Kathy's plaintive

cry seems to attract record buyers.

So Long, Baby, Del Shannon (Big Top 3083) — His third hit in a row,

but won't match his "Runaway."

The Fly, Chubby Checker (Parkway 830) — Another bright teen sound

from a master.

HOT SINGLES CONTENDERS

Sha-ta, Dick St. John (Pom Pom).

Ya Ya, Lee Dorsey (Fury 1053).

Bristol Stomp, The Dovells (Parkway 827).

Foot Stompin', The Flares (Felsted 8624).

Heartaches, The Marcels (Colpix 610).

Look in My Eyes, Chantels (Carlton 555).

For God, Country and My Baby, Johnny Burnette (Liberty).

It Will Stand, The Showmen (Minit 632).

Don't Blame Me, Everly Bros. (Warner Bros. 5501).

Run to Him, Bobby Vee (Liberty).

Just Like Mine, The Renaults (Wand 114).

Rock-a-Bye My Baby, Aretha Franklin (Columbia 42157).

Feel It, Sam Cooke (RCA Victor 7924).

Don't Get Around Much Anymore, Belmonts (Sabrina 501).

Wanted, One Girl, Jan & Dean (Challenge).

September in the Rain, Dinah Washington (Mercury 71876).

UP 'N' COMER:

Hayley Mills

• This versatile 15-year-old English
girl will probably never become well-
known as a singer, even though her
Vista recording of "Let's Get Together"
is now high in popularity. The truth
is, Hayley Mills is an extremely talented
actress with a father who is an ex-
tremely talented actor. So it's quite
logical for us to expect big things from
her, but not necessarily in the music
field.

When she was seven, she entered the
Elmhurst Ballet School, studying dra-
matics and ballet in addition to regular
subjects. Five years later, at 12, pro-
ducer J. Lee-Thompson invited her to
star in a motion picture — certainly a
less tedious procedure than for most
aspiring actresses. The film was "Tiger
Bay," an excellently realized story of a
little girl's love for a murderer, which
gained great international acclaim but
was poorly distributed and thus hardly
seen in the United States. Most Amer-
ican moviegoers first became aware of
Hayley in Walt Disney's "Pollyanna,"
her second film.

Then followed Disney's "The Parent
Trap," in which Hayley played twin
sisters bent on getting their parents
together again. And of course the scene
in which Hayley and her "twin" sing
"Let's Get Together" produced the hit
recording.

Her father, John Mills, is undoubt-
edly keeping a close eye on her career,
and when she's not engaged in film
work, she spends her time on the fam-
ily's 450-acre farm in Sussex, England,
occasionally riding her pony Anhabelle.

80G

The Highwaymen

80 H

ON THE RECORD

RAY CHARLES:
The Genius With Soul

Continued from page 80A)

Sings the Blues" (Atlantic 8052).
Here is a music man that feels it, feels
every word, every groan and shout torn
from his throat. And what he does to
the country blues tune, "I'm Movin'
On," is somethin' else!

Or try another kind of Ray Charles
in "The Genius After Hours" (At-
lantic 1369). Here he is at the piano,
with his small group of loyal sidemen,
including tenorman David "Fathead"
Newman, playing nothing but jazz —
as the title suggests, in a bluesy, "after
hours" mood.

Still another Ray Charles emerges
from "Ray Charles and Betty Carter"
(ABC 385), which he recorded for his
new label, ABC Paramount. On this
LP he is more controlled, more polite,
because there's a lady present . . . and
a fine singing lady she is. They do a
repertoire of twosome tunes, such as
"Baby, It's Cold Outside," which throb
with the pulse of life, that special life
between man and woman.

Ray says that before he can sing it,
he's got to feel it. It's obvious that what
Ray feels, countless others feel too, be-
cause a total of eight Ray Charles LP's
are currently on the Billboard list of
top LP's. The five not mentioned above
are "Genuis Plus Soul Equals Jazz"
(Impulse A-2), "Dedicated to You"
(ABC 355), "What'd I Say" (Atlantic
8029), "The Genius of Ray Charles,"
(Atlantic 1312), and "Genius Hits the
Road" (ABC 335). And, of course, his
single "Hit the Road, Jack" has been
the number one record throughout the
land.

Just as Ray has reached across the
barriers of his youth, he has reached
across the musical barriers between
rock and roll, rhythm and blues and
jazz. His appeal is universal, because
his art is the soulful, plaintive cry of
man against the human condition. His
is a voice in the dark — both figuratively
and literally — which speaks for us all,
now with anguish, now with hope that
there will be light and understanding.

It is said that Ray's music is strongly
gospel-flavored due to his early train-
ing, but Ray once told a Downbeat mag-
azine reviewer that in the early days
lie was thinking only about "how to get
hold of a couple of bucks." This can-
'liil honesty gives his music part of its
quality, the rest coming from the diver-
gent strains of Negro blues, country
bluee, rock V roll, and jazz, which Ray
has synthesized and made his own.

SINGLES SALES LAG

New Artists Should Stay Single 'Til They're Ready

• The young artists nowadays are so
eager for status in the music world
that they're getting hitched to a star
before they're ready.

The hitch we're talking about is the
one with their record producer, who,
to a man, has high hopes of turning
his one-shot hot-singles artist into a
best-selling LP performer. Because
that's where the money is these days,
with LP's selling almost as fast as
singles, at four or five times the price.

In recent weeks dozens of singers,
vocal groups or combos, most with
only one hit to their credit, have come
out with LP's.

Joe Dowell, who hit the first time out
with the German folk tune "Wooden
Heart," now has an LP by the same title
(Smash 27000). The English comedian
Lonnie Donegan, little known to Amer-
ican listeners, has come out with the
LP sequel to "Does Your Chewing Gum
Lose Its Flavor (On the Bedpost Over-
night)" (Dot 3394). And Ann-Margret,
RCA-Victor's choice for the overnight
build-up treatment, is out with an LP
(RCA Victor LPM 2399). Ann-Mar-
gret, who's a knockout, is evidently
wowing 'em across the footlights in
her nightclub act, but she hasn't se-
curely crossed the LP sound barrier.

On the other hand, The Highwaymen
cut a nice simple LP of folk tunes for
United Artists a few months back with
inauspicious results — until a small sta-
tion in the Dakotas started wailing on
one of the songs, "Michael," prompting
UA to release it as a single. The tune
hit number one in a few short weeks,
and now the boys are on the high road

to hitsville, with their LP re-released
and on its way. (United Artists 3125.)

U. S. Bonds, who first hit with "New
Orleans," then followed up with "A
Quarter to Three," has a press agent
who at last admits that U. S. was born
with the more prosaic name of Gary
Anderson. When Gary's second single
hit, his managers invested in an LP
for him with the same title (Legrand
3001). In the liner notes Dick Clark,
the TV Bandstander, said:

"In this day and age it's true, I'm
afraid, that some of the new singers
get one hit single record and immedi-
ately rush out with an album. Unfor-
tunately, the album doesn't always
measure up to the quality, the style,
or the sound of the single. Fortunately,
that's not the case with U. S. Bonds." . . .
And so saying, Mr. Clark rushed to the
studio and threw a cut from the LP
on the ABC air. It was "School Is Out,"
which immediately broke wide open.

Timi Yuro, a little Italian girl who
walked into the offices of Liberty Rec-
ords a few months ago with a reel of
tape under her arm and walked out
with a contract, hit with her first single,
"Hurt," and while the record was still
climbing the charts, followed through
with the inevitable LP (Liberty 3208,
reviewed last issue). Nothing helped
her other than sheer talent oozing up
from the grooves. Her LP jumped right
onto the best-seller charts.

It is still true, though, that most
artists need seasoning before taking
the LP step. It is a rare artist, or set
of circumstances, that can produce a
hit LP on such short notice.

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Full text of "Radio TV Mirror (Jul-Dec 1961)"

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